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UNITED STATES OF AMERICA. 



THE 



COMPLETE 

CARRIAGE AND WAGON PAINTER. 

A CONCISE COMPENDIUM OF THE ART OF PAINTING 

CARRIAGES, WAGONS AND SLEIGHS, 

EMBRACING FULL DIRECTIONS IN ALL THE VARIOUS 
BRANCHES, INCLUDING 

Lettering, Scrolling, Ornamenting, Striping, 
Varnishing anil Coloring, 



l> 



"WITH NUMEROUS RECIPES FOR MIXING COLORS. 



ILLUSTRATED. 



BY FRITZ SCHRIBER. 



NEW YOEK: oJJb.i&'f^ 

M. T. Richardson, Publish^*./ 
1883. 









Copyrighted by 

M. T. RICHARDSON. 

1883. 



v \« 



<£ 



PREFACE 



In placing the manuscript of this book in the hands of 
the publisher, I was impressed with the belief that I had 
thoroughly carried out the original design, which was to 
write a full and comprehensive treatise on the methods 
employed by experienced workmen in painting a carriage, 
wagon, sleigh or railway car, and since the work of my 
pen has returned to me in printed form, I see no cause to 
change that belief or to erase one word therein. 

The painting of vehicles, although differing in many 
respects, according to their quality or value, is virtually 
the same, and I have departed from the beaten track of 
writers in magazines, and chosen for my text a wagon, 
from the fact that the field was a larger one, and in de- 
scribing how that vehicle could be painted, lettered, 
striped and ornamented, I could at the same time give all 
the information necessary for the painting of a first-class 
carriage or sleigh. My object, too, was to condense in one 
handbook not only the method of executing plain painting 
on vehicles, but to give all the instruction necessary for the 
practice of striping, lettering, scrolling, varnishing, polish- 
ing and many minor accomplishments, which would be 
out of place in a work on carriage painting alone. 

The Author. 



CONTENTS. 

Page. 
Preface, 5 

CHAPTER I. 

THE SHOP AND HOW IT SHOULD BE CONSTRUCTED. 

The Furniture of the Paint and Varnish Rooms, 
Brushes, etc.— To " Bridle" a Brush— The Sash 
Tool— The Camels' Hair Brush, or "Blender"— The 
Badger Hair Brush— The Oval Brush— Cleaning-up 
Brush— Bench and Boxes for Colors— List of Colors 
Required in Wagon Painting, 11 

CHAPTER II. 

MIXING COLORS. 

Combining Pigments to Form Colors— Glazing- 
Putty, White, Quick, Black, etc., - 19 

CHAPTER III. 

PRIMING. 

Lead Color Method— The First Coat of Lead— Rough 
Stuffing the Panels — Leading the Gears — Rubbing 
Out Rough Stuff— Putting Final Foundation Coat 
on the Gears — Painting the Body — The Second 
Coat on the Body— Painting the Gears— The Rub- 
bing Process, 28 

CHAPTER IV. 

THE PUTTY-KNIFE METHOD. 

Another Way— The Wood-filling Method— Varnishing 
—Varnishing of Wagons and Sleighs— Sweating- 
Cleaning new Brushes, ------ 88 



8 CONTENTS. 

CHAPTER V. 
The Care of Materials — Failures in Varnishing— 
Troubles of the Painter — Specky Varnishes — Crawl- 
ing of Paint or Varnish— Blistering — Cracking of 
Paint and Varnish — To Paint Canvas-top Sides — 
Glazing with Carmine, ------ 45 

CHAPTER VI. 
Wagon Striping— The Striper's Kit of Tools— Striping 
Pencils — Zinc Palettes — Care of Pencils— Pencils 
for Ornamental Striping— Colors for Striping, - 50 
CHAPTER VII. 
Wagon Striping— Breaking Lines— A Pounce Bag- 
Gold Striping — Gilding Size — Applying Gold Leaf 
—Gold Striping, ------- 56 

CHAPTER VIII. 

Colors Employed on Wagons — Painting a White Job - 68 

CHAPTER IX. 

WAGON LETTERING. 

The Full Block, round and octagon — Half Block, round 
and octagon — Solid Block and Italic Letters- 
Outline Letters — Printers' Black Letter or German 
Text — Ornamental and Tuscan Full Block Letters 
— Three Styles of Letters used by the Abbot 

Downing Co., 70 

CHAPTER X. 

WAGON LETTERING CONTINUED. 

The Roman Letter— The Modern Old Style Letter— The 
New York Roman Letter — The New York Roman 
Italic Letter (Upper and Lower Case)— The Boston 

Roman, ..--80 

CHAPTER XI. 

LAYING OUT WORK. 

Designing Half Block Letters — Using the Ellipse in 
Making Round Letters — The Alphabet in Gothic 
—Half Block Lower Case Letters— Making an 
Ellipse — Properly Balancing Letters and Figures,- 96 



CONTENTS. 9 

CHAPTER XII. 

SHADING. 

Single Shade Block Letters— Double Shade Blocked 
Letters— Shading Gold Letters— Shading Painted 
Letters — Tools used in Lettering — Illustrations of 
Various Methods of Shading, - - - - 104 

CHAPTER XIII. 

WAGON SCROLLING. 

Making Circles and Curves— Making and Shading 
Scrolls— Materials and Tools used in Making and 
Shading Scrolls— Designing and Laying Out Scroll 
Patterns— Flat Scrolls, Ill 

CHAPTER XIV. 

STENCILING. 

Making a Stencil — Brushes for Stencils, ... 121 

SUPPLEMENT-CARRIAGE PAINTING- AND VARNISHING. 
CHAPTER I. 

A GOOD FOUNDATION. 

Putting on the First Coat— Chipping— The Second Coat 
—Puttying— Sand Papering— The Last Coat- 
Ready for Ground Color— Drying Dead— The Var- 
nish Coats— The Finishing Coat— Rubbing, - - 127 

CHAPTER II. 
Dusting and Cleaning Work— Puttying up Joints- 
Cleaning Gears, 137 

CHAPTER III. 
Painting Lumber Wagons— Striping— A Good Color — 
Ready to Varnish, 142 

CHAPTER IV. 
Touching Up Repair Work, 145 



10 CONTENTS. 

CHAPTER V. 
How to Paint a Cheap Job— Painting an Express Wa- 
gon — The Gear Coat — Paint for Body — Painting 

the Body, 148 

CHAPTER VI. 
How to Revarnish a Carriage— Washing— Touching 

Up, 152 

CHAPTER VII. 
Forms and Colors in the Painting of Vehicles — One 
Color for Wood and Another for Iron — Another 
View — All Parts should be of the Same Color — 
The Harmony of Analogy — The Harmony of Con- 
trasts, 155 

CHAPTER VIII. 

Transfer Ornaments— How Made, 162 

Monograms — Florentine — Modern — Louis XV. — En- 
glish, ------ - - 166 

Index, 171 



THE 

COMPLETE CARRIAGE J^ND WAGON PAINTER. 



CHAPTER I. 



THE SHOP AND HOW IT SHOULD BE CONSTRUCTED. 

Wagon painting, though in some respects inferior to 
coach painting, is no less an art, and he who would acquire 
it must give heed to the most minute details, for therein 
lies his success in finish, and finish is the principal point in 
selling the job or in making a reputation and an extensive 
business. I do not believe it worth the time to enter into 
a long explanation of what the paint shop should be, for 
t is to be supposed that my readers already have their 
shops built and in use ; but it will not be amiss to note a 
few of the important features which should be and can be 
made in any shop. Wagon paint shops should be roomy, not 
cut up into small rooms, but large and with high ceilings. 
A large room in which to do the general work and a smaller 
room for varnishing is all that is necessary. The var- 
nish room, being almost a sacred place, should be provided 
with smooth walls and ceiling either of wood or plaster, 
plenty of light, a water-tight floor, and, of most impor- 
tance, a ventilator in centre of ceiling, running through 
the roof to the outer air. This feature of a room where 
varnishing is done is one not fully appreciated by the 



12 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

general class of carriage and wagon builders. There are 
many, however, who have adopted it, and, once knowing 
its value, would not be without it. The expense of a ven- 
tilator is trifling, and any tinsmith can make one. It 
consists of a pipe of sheet iron, say fifteen inches in dia- 
meter, having upon its outer end — which is run up two 
feet from the roof — a revolving cap or grating, which, 
turned by the wind, creates a draught, and that sucks up 
the dust of the room, and allows the escape of air, deprived 
of its oxygen, whereby the varnish has an opportunity to 
harden better. 

Varnish dries not so much by the evaporation of its 
parts as it does by absorbing oxygen from the atmosphere 
and oxidizing, the oil becoming a sort of resin, and where 
a goodly supply of fresh air is admitted the quicker and 
harder the varnish becomes. "Windows should be provided 
with thick curtains — enameled cloth will be found excel- 
ent— to enable one to darken the room when the work of 
the day is complete, to prevent flies from getting upon the 
work. With these features added to the ready-made paint 
shop, the painter will be prepared to do his varnishing with 
no fear of many of the troubles which beset the varnisher, 
such as "enameling," "pitting," "crawling," etc. 

THE FURNITURE OF THE PAINT AND VARNISH ROOMS, 
BRUSHES, ETC. 

The conveniences of the paint and varnish rooms, which 
include trestles, benches, jacks, etc., next demand atten- 
tion, for these tend to hasten the work, as well as give 
comfort to the workman. The coach painter requires 
wheeled trucks on which to move his coach body from 
place to place, but this is not generally considered neces- 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 13 

sary in the wagon shop, a body being set up on benches, 
and allowed to remain so during the painting, then lifted 
and carried to the varnish room for finishing. Trestles are 
used for light bodies, or for resting platform gears upon. 
Benches for placing paint or varnish cups upon when at 
work and low stools or boxes are necessary for use while 
striping or lettering. The conventional scone and muller, 
and perhaps a paint mill, need not be dilated upon, but 
the brushes deserve special mention. Illustrations are pre- 
sented of those best suited to the wants of the wagon 
painter. The first to demand attention is the round paint 
brush, Fig. 1, which is best adapted for laying priming 
or rough stuff on bodies. The size is that known as 0000 
(four naughts). 




Fig. l.—A Bound Paint Brush. 

TO " BRIDLE " A BRUSH. 

As the bristles are too long when first purchased , the brush 
must be " bridled," that is, have an extra binding added. 
This may be done in several ways : 1. By winding a strong 
cord around the bristles up to about the middle of the same, 
or as far from the original binding as desired. 2. By 
covering one-half the length of the bristles with leather 
stitched on tightly. 3. By wrapping a piece of muslin or 
enameled cloth around the bristles, then tying a strong 



14 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

cord around as high as the extra binding should come, turn° 
ing back the muslin toward the handle, and fastening by- 
tacking to the original binding. 4. There are several 
patent binders or bridles made of metal in market, and one 
has an opportunity to choose from these whichever he ap- 
proves. "When the bristles are worn down the bridle 
may be removed, and a new brush is again in hand. 

THE SASH TOOL. 

The companion of the round brush is the sash tool, Fig. 2, 
which is used to "clean up" around moldings and for 




Fig. 2.— Sash Tool. 
painting small panels. The illustration is so perfect that 
I refrain from further remark, save to say that the No. 8 
tool is about the proper size to purchase. These brushes 
may be used for painting gears, although we prefer a flat 
bristle brush on. such work. 

THE CAMEL'S HAIR BRUSH, OR "BLENDER." 

For laying colors no better tool can be found than the 
camel's hair brush, or ' ' blender, " as some call them, Fig. 3. 




Fig. 3. — CameVs Hair Brush. 
I illustrate the proper kind of such a tool and it will 
be noticed that the hairs are fastened not only by cement, 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 



15 



but by riveting through the binding, while those brushes 
not riveted, shown in Fig. 4, are entirely unfit for any 




Fig. 4. — A Very Poor Brush. 
purpose in the paint shop, and should never be purchased. 

THE BADGER HAIR BRUSH. 

For laying color and varnish coats the Badger hair brush 
Fig. 5, is considered best for small panels or any delicate 
work. . It is also used for laying varnish. 




Fig. 5.— Badger Hair Flowing Brush. 
The fitch hair brush is now almost obsolete, owing to 
the many imitations which prove worthless. 

THE OVAL BRUSH. 

For varnishing the large panels of a body or for gears the 
oval brush, Fig. 6, is best as it will carry a good supply of 
varnish. These are made of French white bristles entirely, 
and with care will last a long time. A partly worn brush 
always has the preference over a new one, but the brush- 



16 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

maker now forms the end as if partly worn, which gives it 
the desired shape and softness. 




Fig. 6.— Oval Varnish Brush, Chiseled. 

CLEANING-UP BRUSH. 

A flattened round tool, Fig. 7, is used to " clean up" 
around moldings, between the spokes, etc. Care should 




Fig. 7.— Flattened Bound Tool, Chiseled. 

be taken to select brushes having the bristles or hair set 
in glue, which is insoluble in varnish. Such brushes 
are far superior to those having the bristles fastened 
with cement. 

With those mentioned and a reasonable supply of flat 
bristle brushes the shop will be well stocked in the brush 
line, and we will next look to the pigments or colors to be 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 17 

employed, leaving striping and ornamental pencils for our 
chapter on such work. 

BENCH AND BOXES FOR COLORS. 

Having a substantial paint-bench on which to place the 
"stone" or " flag" and "muller," and upon the end of 
which a paint mill is secured, we place above it — to be 
handy — a few shelves, and on these are boxes — cigar boxes 
will answer — with covers to exclude dust, in which the dry 
pigments are kept. Upon the front of each box the name 
of the color contained therein is painted, and the follow- 
ing list comprises all that is required in a wagon paint 
shop: 

LIST OP COLORS REQUIRED IN WAGON PAINTING. 



White lead in oil, 
the best quality ; 
none other is fit to 
use. 

Ultramarine blue. 

Dutch pink. 

Dry white lead. 

Munich lake. 



Chrome yellow. 
Lemon chrome. 
Orange chrome. 
Yellow ochre. 
Raw sienna. 
Milosi green, L. M. 

and D. 
Chrome green. 
Yellow lake. 
Whiting. 
Lamp black. 



Burnt sienna. 
Raw umber. 
Burnt umber. 
Indian red. 
Venetian red. 
Prussian blue. 
Ivory black. 
Carmine, No. 40. 
Vermilion, English, 

L. and D. 
American vermilion. 



and perhaps several others, but as these would form a good 
beginning, we start from here to mix colors, making men- 
tion, first, that the vehicles used are turpentine, brown 
japan, raw linseed oil (boiled oil is unfit for wagon or 
carriage work), and the regular list of varnishes, i.e., rub- 
bing and finishing. Prepared paints are perhaps to some a 
blessing, but he who would use economy in his work must 
surely mix and grind his own colors. Ready-mixed colors 



18 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

are too expensive for the wagon painter, as, for example, 
in purchasing French carmine at $10 per lb. he pays at 
the rate of $10 per lb. for the japan in which the pig- 
ment is ground, for the average mixture is one pound of 
dry color and one pound of japan or varnish. Ultramarine 
blue (dry) can be bought for 25 cents per pound, the 
japan necessary to make a pound of dry color into paint 
is worth, say 25 cents, but the price of a pound of ready- 
prepared ultramarine blue is $1. You can make two 
pounds of paint for 50 cents. 



CHAPTER II. 



MIXING COLORS. 

The simplest mixtures or combination of ingredients are 
to some the most difficult, and we will first attend to these. 
Most colors may be mixed with japan and turpentine, add- 
ing a very little linseed oil (raw) to give elasticity, and to 
know exactly what quantity of liquids to use, you may 
follow these directions : 

Lay out on the stone a small quantity of dry pigment 
and wet it to a mush-like consistency with brown japan ; 
work it well over with the pallette knife and then put it 
in the mill to grind. Add to the mass in the mill just 
enough turpentine to liquify it, or make the stiff mas3 a 
medium thick liquid, so that it will grind out nicely— if 
too thin the paint will not readily run through a tight 
mill, and the mill should be tightened as tight as it is pos- 
sible to turn it. 

When the paint is ground out, add one tablespoonf ul of 
raw linseed oil to a pint of paint, stir it well, then test its 
drying quality by spreading a little upon the thumb nail. 
Blow the breath upon it to hasten drying, and in a few 
seconds it will have the same appearance it would have 
when dry upon the work. If it appear " dead " or u flat," 
add a little more oil ; if glossy add a little turpentine, and 
so temper it until it appears to dry upon the nail with an 
egg-shell gloss', that is, not too dead, nor yet glossy. 

The reason why definite amounts of japan, oil or turpen. 
tine cannot be stated is owing to the difference in pigments 



20 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

as for example, umber is a natural dryer and it will neu- 
tralize oil to such an extent that more oil may be used 
than in most any other paint. 

Lampblack is of a greasy or anti-drying nature, and 
consequently requires less oil to form an egg-shell glosj. 
This plan of mixing may be safely carried on with most 
pigments. 

Vermilion, however, is best mixed with a quick rubbing 
varnish in the place of japan and no oil whatever should 
be added to vermilion paint, as it tends to darken it. The 
quicker you can get vermilion to dry, the better it will 
hold its color. 

Yellow lake and Dutch pink are generally used as 
glazing colors over green or yellow grounds and therefore 
should be mixed in varnish instead of oil and japan. 

It is quite in keeping with our design to call particular 
attention to the use of oil. The house-painter places his de- 
pendence on oil either raw or boiled, or both, but the wagon 
or carriage painter would make sorry work if he followed 
the house-painter in his ideas of durability etc. : — Boiled 
oil may answer the house-painter's purpose, but it finds no 
friend in the wagon shop. Japan too, requires looking 
after; to test it, pour a little on a shallow dish and add a 
similar quantity of raw linseed oil ; if the two amalgamate, 
the japan may be favorably received, but if the mixture 
curdles or becomes thick and livery, drop the japan as 
you would a hot iron. 

COMBINING PIGMENTS TO FORM COLORS. 

Having explained the manner of mixing paint, let us 
now look at the combination of pigments to form certain 
colors. The exact proportions of ingredients cannot be 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 21 

correctly stated, for some pigments vary greatly in their 
strength or covering power, and again, a shade of color as 
described, might not suit the eye of all, therefore, we 
simply tell what pigments to use in making a color, leaving 
it for the painter to change the proportions to suit his case. 
In making tints white-lead forms the base and the colors 
must be added with care, as some pigments are very strong 
and a drop will entirely change the tint, while others will 
hardly be perceptible. To make 

1. LEAD COLOR— Take 8 parts white, 1 of blue and 1 
of black. 

2. MEDIUM GRAY— 8 parts white and 2 of black 
(lampblack). 

3. FRENCH GRAY-White tinted with ivory black. 

4. LIGHT BUFF— White and yellow ochre. 

5. DEEP BUFF— The same with a little Indian red 
added. 

6. GOLD COLOR — White and orange chrome, tinted 
with red and blue. 

7. PEARL COLOR— White, black and red, or white, blue 
and red. 

8. CANARY COLOR— White and lemon yellow. 

9. OAK COLOR — White and yellow ochre or raw sienna. 

10. OLIVE COLOR— Yellow, blue, black and vermilion. 

11. SNUFF COLOR— Yellow and vandyke brown or 
burnt umber. 

12. ROSE COLOR— White and carmine. 

13. BOTTLE GREEN — Dutch pink and Prussian blue 
for ground, glaze with yellow lake. 

14. SALMON COLOR— 5 parts white, 1 yellow, 1 umber, 
and 1 red. 



22 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

15. BROWN— 3 parts red, 2 black and 1 yellow. 

16. COPPER COLOR— 1 part red, 2 yellow and 1 black. 

17. LEMON COLOR— 5 parts white and 2 lemon yellow. 

18. STRAW COLOR— Same, with a drop or two of ver- 
milion. 

19. FAWN COLOR— 8 parts white, 1 red, 2 yellow and 1 
burnt umber. 

20. FLESH COLOR— 8 parts white, 3 Vermilion, 3 
chrome yellow. 

21. CHESTNUT COLOR— 2 parts red, 2 chrome yellow, 
1 black. 

22. WINE COLOR— 2 parts ultramarine blue, 3 carmine. 

23. MAROON YELLOW— 3 parts carmine, 2 yeUow. 

24. TAN COLOR— 5 parts, burnt sienna, 2 yellow, 1 
raw umber. 

25. PEA GREEN— 5 parts white and 1 chrome green. 

26. CITRON COLOR— 3 parts red, 2 yellow and 1 blue. 

27. STONE COLOR— 5 parts white, 2 yellow and 1 
burnt umber. 

28. DRAB COLOR— 9 parts white and 1 burnt umber. 

29. LILAC COLOR— 4 parts red, 3 white and 1 blue. 

30. PURPLE COLOR— Same, with more blue. 

31. VIOLET COLOR— Same, with more red. 

32. LONDON SMOKE— 2 parts umber, 1 white and 1 red. 

33. CREAM COLOR— 5 parts white, 2 yellow and 1 red. 

34. CLARET COLOR— Red and black or carmine and 
blue. 

35. DOVE COLOR— Red, white, blue and yellow. 

36. LIGHT GRAY— 9 parts white, 1 blue and 1 black. 

37. WILLOW GREEN— 5 parts white and 1 verdigris 
(tube color). 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 23 

38. PEACH BLOSSOM— 8 parts white, 1 blue, 1 red and 
1 yellow. 

39. BRONZE GREEN— 5 parts chrome green, 1 black 
and lumber. 

40. CARNATION RED— Carmine and white, or Munich 
lake and white. 

41. GRASS GREEN— 3 parts yellow and 1 Prussian blue. 

42. BRICK COLOR— 2 parts yellow ochre, 1 red and 1 
white. 

43. PORTLAND STONE— 3 parts raw umber, 3 yellow 
ochre and 1 white. 

44. PLUM COLOR— 2 parts white, 1 blue and 1 red. 

45. FRENCH RED— Indian red and vermilion— glazed 
with carmine. 

46. CHOCOLATE COLOR— Indian red, black and 
yellow. 

47. YELLO W LAKE— Umber and white, equal parts ; 
add yellow and lake. 

48. OLIVE BROWN— 1 part lemon yellow and 3 burnt 
umber. 

49. CLAY DRAB— Raw sienna, raw umber and white. 

50. BISMARCK BROWN— 1 oz. carmine, %, oz. crimson 
lake, 1 oz. best gold bronze. If desired lighter, use ver- 
milion in place of the carmine. 

51. JONQUIL YELLOW— Flake white (tube color), 
chrome yellow and a very little vermilion or carmine. 

52. CHAMOLINE— A new color, so named because it 
resembles in color that of a chamois skin. When wet, mix 
lemon chrome, 1 part; raw sienna, 3 parts; and white 
about 5 parts, until the approximate shade is reached. 

53. DARK MILORI GREEN is specially adapted for 



24 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

wagon bodies. It makes a very rich panel color, superior 
to Prussian blue, green, or chrome green, or mixtures of 
blue and yellow. 

54. TEA GREEN is made by mixing raw umber, blue 
and chrome green. It makes a rich panel-color, and, with 
a sample of tea before him, the painter can easily get the 
proper shade. 

55. WILLOW-LEAF GREEN— A veiw light yellowish 
shade of olive, yellow, blue, black and red. 

56. PRIMROSE YELLOW— White and King's yellow, a 
noted English color, but not much used in this country. 

57. LE CUIR OR LEATHER COLOR— One part burnt 
umber and two parts burnt sienna, then tone with white. 

58. JAPAN BROWN— Black japan mixed with ver- 
milion. 

59. DARK RICH BROWNS— Take Indian red, five parts, 
and Prussian blue, one part; grind, and mix in brown 
Japan and turpentine and add a very little oil. By chang- 
ing the proportions of ingredients the color can be made 
light or dark as desired. Vermilion and black will make a 
very nice brown, but we believe that all red-and-black 
browns are softened and improved in tone by the addition 
of yellow. Umber brown without the addition of red is a 
cold, raw color, unless placed beside a red ground or stripe. 

GLAZING. 

GLAZING is the term given to a transparent coating put 
over a similar colored ground, as carmine over reds, or yel- 
low lake over yellow or green, or verdigris over green. 
Many shades of lake may be made by glazing with car- 
mine, and there are many who never employ lake pigments 
in their work, owing to its tendency to fade or to flake 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 25 

off. The ground being made with Indian red and black, 
according as the shade of lake is to be light or dark, a glaze 
of carmine will produce a beautiful color and one that will 
be durable. Rich blues are made by glazing Prussian blue 
lightened with white with ultramarine. Glazing is simply 
the dry pigment ground in rubbing varnish, no oil, no japan 
nor turpentine being used, and it is put on in a similar man- 
ner to varnish, care being taken not to have clouds or runs in 
the work. 

In mixing colors, it is the custom of some painters to lay 
out upon the stone the requisite quantity of various pig- 
ments, and then mix and grind the mass in the mill, but 
by this means dull or " lifeless " colors are produced. To 
do this properly the required pigments for a given color 
should be mixed and ground separately, then the proper A 
proportions may be put together and thoroughly mixed. By 
this means all the freshness of the color will be retained, a 
more perfect commingling of the particles will be insured, 
and there will be less liability of separation in the cup, or 
settling of one heavy pigment from the others, which is 
sure to destroy the uniformity of coloring. 

VERMILION should not be ground fine in the mill, for 
not only does the iron surfaces with which it comes in 
contact injure the color, but the crushing of the grains 
brings about an orange tinge which is decidedly objection- 
able. 

LIGHT ENGLISH VERMILION has the greatest body 
or covering power, and is used for striping and lettering, 
while the Deep English vermilion is better suited for 
coloring gears or panels. 

American vermilion and white lead forms a peach bios- 



26 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

som pink which makes an excellent ground for English 
vermilion. 

IVORY BLACK — Many purchase prepared black with the 
expectation of getting an article ready for spreading with 
the brush, and when they find that the paint is too thick 
and requires thinning to a proper consistency for the work 
in hand, they are at a loss what to do with it — whether to 
add oil, turpentine, varnish or Japan — and in some cases 
the paint is spoiled by the vehicle used to dilute it. To such 
we would say: take from the can the required amount of 
black, and add just sufficient turpentine to soften it or 
thin it to a cream-like consistency, stirring it meanwhile 
with a flattened stick. Next add a very small quantity 
of raw oil and test it on the thumb nail until it dries not 
too dead. Be careful not to use too much oil, for too much 
is worse than none at all, while the proper quantity gives 
ease in spreading and durability to the work. 

PUTTY. 

The next in order is Putty, and as there are several 
kinds for the several purposes we will give recipes for each. 
Putty should be tempered with either oil, varnish, or japan, 
according to the purposes to which it is put. These 
are: 

First. — White Putty, composed of keg lead and dry lead 
and whiting. The dry pigments are beaten and worked 
into the keg lead until of a putty consistency, then a little 
brown japan is added to cause it to dry well, and a little 
more whiting is worked in to bring about a stiff putty for 
filling holes, leaving it softer for filling the grain of ash, 
etc. 

Second. — Quick Putty — Take dry lead and whiting, 



THE COMPLETE CARRIAGE AND WAGON PAINTER. Q7 

equal parts, and mix to putty with equal parts brown 
japan and rubbing varnish. 

Third.— Black Putty— For hurried work mix the same 
as quick putty, using lampblack in place of whiting. 

Fourth.— Black Putty for Irons— To be used where 
the iron work does not fit the wood. Mix three-fourths 
lampblack with one-fourth dry lead or whiting, with 
japan. 

Fifth.— Black Bedding Putty— For glass frames mix 
lampblack and whiting in equal parts (bulk) with equal 
parts of rubbing varnish and japan to a soft putty consist- 
ency. Then having some black velvet or plush at hand, 
unravel it so as to secure the short fibres of the material, 
which, when mixed with the putty in the same manner as 
hair is mixed with plaster, will bind it firmly together and 
no jar of the vehicle will cause it to crack and fly out. 
This putty is excellent for bedding the glasses of hearses 
and is used by most hearse builders in preference to any 
other. 

The ordinary putty of the glazier finds no place in a 
wagon paint shop. 

It is a good plan to color putty to a color similar to the 
job; as, for exanple, if the job is to be red, add a little red 
to the putty; if green, add green, and so on. 



I 



CHAPTER III. 



PRIMING. 

Having our shop tools and paints ready for use and 
being somewhat acquainted with the mixing of paints of 
various colors, we will take for the first lesson in painting 
a platform geared business wagon with ribbed body and 
panel top. 

There are several methods of reaching a final finish, and 
it will be well to glance at each. Then he who chooses 
to follow one path may do so, while his neighbor can take 
another. 

LEAD COLOR METHOD. 

First comes the old or lead color method. As soon as 
the body, wheels and bars are completed by the wood- 
worker, a coat of priming should be put on to prevent the 
raising of the grain of the wood. This priming is made of 
pure linseed oil, slightly colored with white lead. A small 
quantity of brown japan may be added to hasten the dry- 
ing, though some prefer to omit the drier when time is of 
no account. The oil of the priming is the main depend- 
ence. It is soaked into the pores of the wood and partly 
seals them against the entrance of moisture while the 
small grains of lead partially close up the largest 
pores. 

The tread of the wheel should be coated, as that prevents 
the swelling of the rim or felloe, while the tire is being 
put on. Just here let me remark that a tire should never 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 29 

be so hot as to scorch or char the wood. There is no ne- 
cessity for it, and a careful workman will not permit it. 

The spring bars or blocks should be coated all over. The 
coating now put on acts as a preventive coat, as shown 
above. When it is dry the work is ready for the smith. 

The body will not be wanted at once, so we can prime it 
with some kind of paint, all over, excepting the floor. 
Some simply prime the outside, leaving the inside un- 
painted for the time. That is an error, for the bare wood 
is apt to absorb dampness and the broad side panels are 
liable to check. The priming being allowed from 36 to 48 
hours for drying, it may then receive a good sandpapering 
with No. 2 sandpaper. The largest nail holes may then be 
puttied with putty made as per formula No. 1, previously 
spoken of, leaving the small holes to be partly filled with 
paint. Dust off clean and apply, 

THE FIRST COAT OF LEAD. 

This paint may be mixed as follows : Take from the keg 
the required amount of white lead, say, two pounds, and 
make into a paste-like consistency with raw oil ; then add 
one-half as much brown japan, and finally, thin to a work- 
ing consistency with turpentine. Lay this paint on as 
evenly and sparingly as possible to cover the ground, for a 
thick coating is not desirable. Rub it into the wood as well 
as you can with the brush and stand the job aside to dry. 

When this coat is dry, it will be best to go over every 
part of the frame, seat raisers, etc., which are of hard 
wood, and plaster the grain full of soft putty as per form- 
ula No. 2. This being quick drying, may be sandpapered 
in an hour or so. The sandpaper used in scouring the 
priming coat will-be good enough for this work, as it is 



30 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

not our desire to cut through the paint, but to simply 
smooth it. Many err in this ; they apply a coat of paint, 
and then sandpaper it nearly all off again, which is just so 
much time and material wasted. The rule should be to 
first make the job smooth, and then apply the paint in as 
neat and clean a manner as possible, avoiding all necessity 
for hard sandpapering. 

ROUGH-STUFFING THE PANELS. 

On extra fine wagon work the body panels are coated 
with rough-stuff and rubbed with pumice stone ; but for 
ordinary work this is not necessary. But the large side 
panels may be rough-stuffed , and we will now look for the 
best mixture for the purpose. 

Fire proof paint, Grafton paint, Ohio paint, and English 
filling are all one and the same thing ; the latter being sim- 
ply Grafton paint exported to England, there colored, and 
returned to this country as "English filling," and the 
price quadrupled. 

Procure either of these, with an equal quantity, by 
weight, of keg lead, and mix with equal parts of brown 
japan and rubbing varnish. Run it through the mill 
loosely and thin it to work nicely, with turpentine. No 
better rough-stuff can be had. The only advantage gained 
in using prepared rough-stuff is that by being mixed in 
large quantities it is apt to be more uniform than that 
mixed by the painter. Rough-stuff should not be applied 
thick, like mud, but should receive as much care in its 
application as any other paint. If it be put on thick, and 
with brush-marks showing, the finish will show the marks 
just as plainly. 

The purpose in using rough-stuff is to produce a surface 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 31 

having sufficient grit to cause it to level down nicely by 
rubbing it with lump pumice stone. For wagon work, 
two coats are generally sufficient, but on carriage work 
as many as five are sometimes applied. The coat of rough- 
stuff having been put on as directed, give it from 24 to 48 
hours to dry; then apply the second coat. No prepara- 
tions, such as sandpapering, etc., need be made; simply 
aust off the job and apply the paint. 

It is the best plan, to let the smith have the body while 
in rough-stuff, for then if he burns or bruises any part, it 
can be readily repaired before the ' k rubbing down" is 
begun. 

The ironing of the gears and body being now completed, 
we will take in hand the gears, which, up to the present, 
have received the priming or preventive coat only. 

LEADING THE GEARS. 

Slipping out the king-bolt, we run the front platfoim 
from under the body, and then, resting the front on the 
barrel, and the hind axle on benches, we remove the hind 
wheels, leaving the body in a position to be worked at 
conveniently. The gears now receive a good "cutting 
down " with coarse sandpaper, until but little of the prim- 
ing coat is discerned, and, after a good dusting, these parts 
are ready for the lead. As we are about to paint the gears 
with English vermilion, it will be well to apply a pink or 
peach-blossom paint to serve for a ground work ; there- 
fore, we mix keg lead with oil to a thick mass, and stir in 
enough Venetian red, or American vermilion, to form a 
clean pink color ; then, add one-half as much brown 
Japan as you used of the oil, stir well, and run through 
the mill. Next, thin with turpentine and apply as evenly 



32 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

as possible to every part of the gears, the under side as 
well as other parts. Clean up nicely around the butts of 
spokes, nuts, bolt-heads, etc., and stand aside for dry- 
ing. 

The body having been looked over, and all bruised 
places repaired with putty, is in condition for rubbing, so 
selecting several pieces of pumice stone, and preparing a 
pail of clean water, a sponge, chamois skin and a water 
tool, begin the 

RUBBING OUT OF ROUGH-STUFF. 

There seems to be nothing so well adapted for rubbing 
the surface of paint, preparatory to laying on the finer 
coats of color, etc., as pumice-stone (the lava thrown 
from volcanoes). It is porous, inexpensive, and possesses 
admirable frictional properties. The first of these quali- 
ties renders it excellent as a rubber; its porosity allows it to 
cleanse itself, or, in other words, the refuse rubbed from 
the surface of the paint lodges in the pores, while the pro- 
jecting portions continue to cut, and the application of 
water removes from the pores the refuse. If, of good 
quality, it cuts down the paint rapidly, and a clean cutting 
surface is exposed to the paint at all times. Pumice stone, 
however, lacks uniformity; some lumps being heavy, with 
closed pores, presenting a stone-like appearance, while 
others are light and open-grained. The latter is the best. 
The stone, when selected, should first be dipped in water, 
that its grain may easily be seen, and then cut with an old 
saw across the grain, so that the pores may retain as fully 
as possible their clearing and cutting qualities. Large 
pieces should be used when practicable, so as not to rub 
the surface into hollows. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 33 

There is another species of stone much used for rubbing 
rough-stuff, and known as "English rubbing stone." It 
is a sort of sandstone of fine quality, and is a greater ab- 
sorbent of water than pumice or other qualities of sand 
stone. It must be kept in a damp place, otherwise it be- 
comes hard and flinty. For rough work this stone may 
answer a good purpose, but it is almost too coarse for fine 
work. There is also in the market a prepared brick or 
stone, of German origin, branded with the name of 
Schnmachersehe Fabrik. (It may have been originally in- 
tended as a whetstone for shoemakers.) It is used by 
many first-class builders, and has superseded lump pumice 
in a measure, although it will never entirely take its place. 

The stone having been chosen according to the conditions 
explained above, or as nearly as circumstances will permit, 
the pieces should be cut and smoothed by rubbing them 
upon a flat stone. The stone should set nicely to the 
surface and be moved either in circles as in polishing, or 
lengthwise of the panel, pressing firmly upon it, but not 
too hard, for it would then rag or tear up the paint. 
Plenty of water must be used to prevent heating. It is the 
practice of many to apply a "guide coat" or " stain" 
over the rough stuff (this is simply a mixture of dry 
pigment and japan and turpentine, put on very thin) 
to enable the rubber to see when he has rubbed the sur- 
face level, as when all the " stain " is rubbed off the sur- 
face should be perfect. As the work continues, the stone 
should be pressed more and more lightly, and more water 
should be used, in order that all fine scratches may be re- 
moved. When the " rubbing out " is completed, wash the 
job well, using the water tool (a common sash-tool) to 



34 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

clean out corners, etc., then dry off with a chamois skin, 
and stand the job aside for the evaporation of any mois- 
ture which may remain in the pores of the paint. 

PUTTING THE FINAL FOUNDATION COAT ON THE GEARS. 

The gears we left in pink colored lead to dry, and these 
must now receive attention. Putty for this job should be 
made as follows : Take equal parts (bulk) of keg lead and 
whiting, and beat the whiting into the lead with a wooden 
mallet, until the mass is of a putty consistency; add a little 
red, and a very little brown japan and knead all together 
nicely. Next go over every part and putty up all holes or 
imperfections, and plaster the fronts of spokes and any 
other open-grained places. When this is dry, which will 
be perhaps in an hour or two, smooth down all parts, par- 
ticularly the putty, with partly worn sandpaper, dust off, 
and apply a coat of the following mixture: Take keg lead 
and mix it to a soft paste with turpentine, add one gill of 
brown japan to every pint of paint, then color it by the 
addition of American vermilion. It will do no harm, and 
add greatly to the durability of the work to add say, a 
tablespoonful of raw oil, but if the job must be hurried 
this may be omitted. This being the final coat of the foun- 
dation, it should be applied as smoothly as possible, and the 
under parts need not receive this coating. 

PAINTING THE BODY. 

The body now being dry, take the finest sandpaper and 
gently rub over the rubbed portion, and nicely prepare the 
ribs, etc. , for color. It is customary with some painters to lay 
on a ground coat of some color corresponding with the hue 
of the color the job is to be painted, but this is not positive- 
ly necessary, for its purpose is merely to economize time 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 35 

and expensive color. With the exception of a few extra 
fine or transparent colors, which are intensified or made 
more brilliant by application over particular grounds, the 
color may just as well be laid directly on the rough-stuff or 
lead surface. This job we will paint green panels, black ribs, 
and black top sides, with name panel in vermilion, glazed 
with carmine. The color for the panels will be best per- 
haps, if we use deep Milori green, or we may use chrome 
green deepened with Prussian blue, whichever is at hand. 

Milori green, however, makes the richest color, and it 
may be mixed as we have before directed, i.e., mix and 
grind in brown japan, thin with turpentine ; then add one 
tablespoonful of raw linseed oil to every pint of paint. 
The name panel or belt may be coated with light English 
vermilion this time, as that covers better than the deep, 
and the top, sides, etc., may have a coat of lampblack. 
These colors must be laid on with camel's hair brushes to 
have them as thin and smooth as can be, and in painting 
the body panels the ribs should receive as much attention 
as the panel, no matter if they are ultimately to be in 
black. The inside of the body may at this time be painted 
with a light pea green. 

While the body is drying we will lightly sandpaper the 
gears, and apply a coat of American vermilion, using a flat 
bristle brush and sash tool. This forms a good ground for 
the English vermilion, which will be the next in order. 
The ends of the hubs, and the ends of the pole or shafts 
need not be painted with the vermilion, for those parts 
will be "blacked off." 

THE SECOND COAT ON THE BODY. 

A second coat of color is now in order on the body, hav- 



36 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

ing allowed several hours for drying. A good "mossing 
off " that is rubbing over the surface of paint with a bunch 
of moss or curled hair, prepares it for color. Milori green 
on body panels. Deep English vermilion on name panel 
or belt, and ivory black on top. Give at least five hours 
for drying, then apply color and varnish, which is made 
by adding to rubbing varnish a sufficient amount of the 
color to slightly stain it. This preserves the freshness of 
the color. The green, the red, and the black must all be 
done alike, and varnish brushes should be used for this 
work. It is as necessary to use care in applying color and 
tarnish to have it clean, and without runs, as if applying 
a finishing coat of varnish, for if it be well done there will 
be less rubbing to do in finishing, and a better job will 
result. Some slap on color and varnish with the thought 
"it has to be rubbed smooth," but that is not the proper 
way and the thought and aim should be to see "how nicely 
I can put on this coat." 

PAINTING THE GEARS. 

The color and varnish on the body, let us now color the 
gears. Rubbing over every part with fine sandpaper or 
curled hair, we mix English vermilion (deep), as before di- 
rected, and apply a nice, even coat over all, bottom of 
axles, springs, etc., as well as the top; stand the work 
aside to dry, which will be perhaps two hours ; then put 
on a heavy coat of color and varnish — made by adding a 
little of the vermilion color to rubbing varnish. 

The whole job is now in color and varnish, and, when 
dry (say after 48 hours, if not hurried), the rubbing of 
the body with pulverized pumice stone is in order. The 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 37 

gears do not require rubbing with pumice ; they may be 
" haired off " preparatory to striping. 

Procuring some pulverized pumice stone — the grade best 
suited is known as No. 12, No. 14 being finer— some pieces 
of woolen cloth for "rub-rags," clean water, sponge, cham- 
ois skin and water-tool we are ready for 

THE RUBBING PROCESS. 

To do this nicely, begin on the upper part of the body 
and work downward. First fold the rub-rag into several 
folds or thicknesses, and saturate it well with water , dip 
it into the ground pumice and then begin the work ofr 
rubbing. Bear on quite hard, and keep the rag well wet c 
and also well supplied with the pumice powder. Pass your 
finger over the parts rubbed, occasionally, to see whether 
you have yet made the surface smooth ; if so wash off the 
panel and dry it with the chamois. Proceed in like manner 
over all until the body has a clean egg-shell gloss, and ap- 
pears perfectly free from pits or specks. "W hen this is 
done the job is ready for lettering, excepting the name 
panel, which is yet to be glazed with carmine. This we will 
do at once. Grind a small quantity of carmine No. 40 in 
rubbing varnish, then dilute it with more of the same 
varnish, and apply a flowing coat in the same manner as 
clear varnish, being careful not to have runs, clouds, or 
heavy flows. 

This done, and the inside having been second-coated 
with pea green, we can say the painting is complete. 

The gears being rubbed with curled hair or moss, are 
ready for striping, and we will leave them for the present 
to give directions for bringing up a job to this point by 
another process. 



CHAPTER IV. 



THE PUTTY KNIFE METHOD. 

When the priming and first coat of lead, as previously- 
described are dry, mix some keg-lead with turpentine and 
japan, equal parts, add a very little lampblack, or red, 
or green, according to the color the job is to be painted, 
making the paint a stiff paste or soft putty consistency. 
With a stiff brush spread this on to a small portion of the 
body, say : four panels. It will then be noticed that as fast 
as the turpentine evaporates, the paint will become 
"dead "in appearance, and when quite dead or "flat," 
take a broad bladed putty-knife and plaster over, the same 
as if it were putty ; pressing the paint into the pores and 
inequalities of the wood, and scraping off all that is not re- 
quired to so fill up. Go on in this manner until the body 
has all been passed over, and set the job aside to diy. The 
gears may be done in a similar manner, using a stout piece 
of harness leather for rubbing the paint on spokes and 
other round places. When this plaster coat is dry, cut it 
down nicely with sandpaper, and apply the color direct ; 
then color and varnish. This is a much cheaper plan than 
rough-stuffing, and when well done, the job will look near- 
ly as well. 

ANOTHER WAY. 

An improved plan is to mix with the plastering paint, 
one-half the bul . of Wheeler's Patent Wood Filler, a mixt- 
ure of silica or ilint, which, when ground fine, forms small 
angular grains or needle-like pieces, which adhere to wood 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 39 

very firmly, and being impervious to any liquid, com- 
pletely seal up the pores of wood against the admission of 
moisture, or the oil from subsequent coats. 

THE WOOD FILLING METHOD. 

The body having been completed, no further than the 
frame-work, it receives a priming of wood filling. The 
chamfers and faces of the rails or ribs are then plastered 
with hard-drying putty and sandpapered, being then ready 
for color. The panels are got out and smoothed by the 
body maker, being left from £ to f of an inch wider than 
necessary to fit the body, to allow for shrinkage. These 
then receive wood filling, which is applied freely and im- 
mediately wiped over with rags, until no surface coating 
is left, nearly all the filling having penetrated the wood. 
Give two days for drying, and then apply rough-stuff mad e 
as follows : Grafton paint or Eng. filling 3 parts, white 
lead (keg) 2 parts, oil japan 2 parts, rubbing varnish 1 part : 
dilute with turpentine. For the first coat add a table- 
spoonful of oil to a pint of paint, because that which 
comes next to the elastic priming must be more elastic 
than the subsequent coats. A period of 48 hours must 
now be allowed for the first coat of roughstuff to dry, 
after which two coats without oil in the mixture may be 
applied each day. Give one day for the stain or guide 
coat to dry, and then rub down as before described. The 
panels may now be fitted to their places, screwing them 
fast from the inside, thus leaving the outside of the body 
in good order for color. 

We specially recommend this method of rough-stuffing 
the panels before they are fitted, inasmuch as that part 
between the panel and rib is thus well painted, allowing 



40 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

no chance of injury by water entering at those places ; and 
besides, it allows of making a smooth job with less labor. 

The gears having been similarly primed with wood 
filling, and the smith having completed his work upon 
them, the first operation is a good cutting down with No. 
3 sandpaper, which prepares the work for a coat of lead — 
pure keg lead, mixed with oil, japan and turpentine. 
When this is dry, the puttying up of all open-grained 
places and holes are in order. The second coat of lead paint, 
containing a little chrome yellow and a trifling amount of 
vermilion to form a rich cream color, is next applied. 
Two coats of this will suffice for the color, when color and 
varnish should be put on. When this is dry, moss off for 
striping. 

Having brought the wagon up to the striping, lettering, 
and ornamenting we will now take a retrospective view 
and note the particular points not so fully explained here- 
tofore. 

VARNISHING. 

The varnishing of a carriage body is a very delicate 
operation, and requires a considerable amount of practical 
knowledge on the part of the workman, if he would pro- 
duce satisfactory results. But it is not so difficult to var- 
nish a wagon body, notwithstanding. To those not ac- 
customed to this class of work, it seems a big job to var- 
nish the sides of a large furniture van, for instance, which 
spreads over a surface of 120 square feet, or an animal cage 
of a little less surface, but it is quite easily done with 
proper facilities. The brushes used for such work are flat 
ones, "double thick" 4 inches wide, of French bristles. 
The workman begins at one end s laying on the varnish up 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 41 

and down, and " finishing up" as he proceeds lap after lap 
the width of the brush. With quick setting varnish two 
men are put to work, one laying on the varnish, the other 
finishing up. 

On ordinary business wagons, trucks, etc., much more 
care is given to the final finish than was the case a few years 
ago, and in some shops expert carriage varnishers have been 
employed in order to turn out extra jobs. So to carry out 
our plan of making a first-class job we will go into minute 
details regarding the 

VARNISHING OP WAGONS AND SLEIGHS. 

So far as the room is concerned, we will say but little, as 
we have already touched on that subject. In the first 
place the room should be provided with a heating arrange- 
ment by which a uniform degree of heat may be main- 
tained, and where no other means can be resorted to, a 
large self -feeding stove should be put up, although it is 
best to have the stove in the paint room and close to the 
partition of the varnish room, the partition at that place 
being made of sheet iron. This will generally sufiice to 
heat both rooms. The room should be free from every- 
thing not necessary for the job in hand, for dust will 
accumulate on pictures or other wall hangings to the det- 
riment of the work. The rubbing with pumice-stone, and 
the cleaning of the body should be done in the paint rooms, 
for we do not want the floor of the varnish room soaked 
with water— not even sprinkled— for the evaporation of 
moisture from the floor is very apt to cause "pitting," 
"enameling," and other difficulties. The rubbing coats 
of varnish, that is the color-and-varnish, and the clear 
rubbing varnish, over the lettering, and striping,— having 



43 THE COMPLETE CARRIAGE AND WAGON PATNTER. 

been applied with as much care as if a finishing coat, the 
final rubbing is now in order. The rubbing or leveling of 
varnish with pulverized pumice stone and water bears an 
important part in the work of making a fine finish. 

Finish each part as you proceed, leaving a nice clean 
surface, well washed and shammied. The work of rubbing 
done, carry the body to the varnish room and set it upon 
barrels or boxes as before ; then with a large round duster 
— one kept for the varnish room — give the body a thorough 
dusting. It is a good plan to moisten the palm of the 
hand with finishing varnish, and then to pass the end of 
the duster over it to slightly moisten the bristles, which 
enables it to pick up any lint left by the shammy. 





Fig. 8. — Staiidard Varnish Brushes. 

For most jobs the flat bristle brush is considered best. 
They are furnished in sets, and the bristles should be 
set in glue. 

The varnisher, now having everything ready, the work 
of laying on the varnish is begun. The pumice stone 
should be well examined to discover if any grains of grit 
or sand are in it, for sometimes one scratch across a panel 
will disfigure the whole job. The rub-rag, sponge, 
shammy, water, etc., should all be as clean as possible — 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 43 

and by all means see to it that neither the pail, sponge nor 
shammy have been used for washing the hands. In rub- 
bing, the pumice powder must not be allowed to dry on 
the work, but must be kept wet, or washed off frequently. 
In beginning a panel, first pass the wet sponge over it to 
take off any dust there may be upon it, then seek the 
roughest portions and give particular attention to them ; 
the smoother parts will be passed over often enough to 
level them without that especial care. All sharp edges and 
moldings should be slighted, or they may be cut through, 
which would necessitate touching up, and that requires 
time, while the job is not improved thereby. It 
would be a useless task for us to direct the manner of var- 
nishing — suffice it to say, go at the work with confidence 
in your ability to do it properly. Flow on the varnish 
plentifully, — a sparse coat will not make a good job — 
lay off the large panels with up and down strokes of the 
brush, let it set a moment, then with a sharpened whale- 
bone go over and pick out any specks that are seen, and then 
immediately run the brush from bottom to top very light- 
ly to finish. Go all over the job in this manner and you 
may rest assured that your work will come out all right. 

The gears may be varnished in the paint room, provid- 
ing there is not room enough in the varnish room, for 
these do not require so much care. However, they should 
receive a goodly share of varnish, and this brings us to the 
finish of the work. We will now look at some of the ills 
that beset the painter. 

SWEATING. 

Sweating of varnish is liable to occur after it has been 
rubbed and allowed to stand a while. This is caused by 



44 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

the varnish not having had proper time for drying. Proper 
care is not taken, at times, to lay the rubbing coats as they 
should be : they are applied too heavy or with specks and 
brush marks showing, and to get the surface smooth too 
much rubbing has to be done ; then the varnish will 
probably sweat. To overcome this, rub the job lightly with 
pumice stone and apply the varnish immediately before 
the surface has time to sweat. But when time can con- 
veniently be given for the varnish to become hard it is 
certainly best. 

Varnish that has " sweated out " if varnished over with- 
out first rubbing the sweaty gloss off is liable to cause 
pitting, or pinholing, and enameling, three of the worst 
evils that the paint shop is heir to. 

CLEANING NEW BRUSHES. 

To clean a new varnish brush, hold it over a piece of 
enameled cloth or patent leather, and work the dry bristles 
in the hands so long as there is seen any little white specks 
coming from it, then dip it in rubbing varnish and use on 
common work until you are sure the dirt is all out. Never 
wash a brush in turpentine if it can be avoided. If a brush 
gets dirty by a fall to the floor, hold it up with the bristles 
pointing downward, and pour turpentine over it, allowing 
it to run off carrying the dirt with it. Keep your varnish 
brushes suspended in varnish — or, what is better, get from 
the varnish-maker some finishing varnish made with no 
driers in it. This will keep your brushes in good condi- 
tion for years, and never give trouble in varnishing. 



CHAPTER V. 



THE CARE OF MATERIALS. 

Keep paint brashes suspended in water, allowing th 
water to come just over the lower part of the binding. In 
winter throw a handful of salt into the water to keep it 
from freezing. A shop should be supplied with a sufficient 
number of brushes, so that it will not be necessary to 
change one from one color to another, except in rare 
cases. 

Pumice-stone should be kept in a covered box to exclude 
dust, for a job may be rained by a single scratch caused 
by some foreign subtance in the pumice. 

FAILURES IN VARNISHING. 

Failure to make a good job of varnishing may some- 
times be traced to one of the following causes, viz. : When 
the pail or bucket is used for holding the water with 
which the hands are washed from oil and dirt. 

When the chamois (shammy) has been rinsed in greasy 
and dirty water, or been used as a towel. 

When the sponge has been used in a similar manner. 

When the water is not perfectly clean and free from 
grease or soap. 

When the duster has been used for dusting paint, and is 
not in a clean condition. 

When the cups are besmeared with dried or gummy 
varnish, or not otherwise clean. 

When the brushes are not kept in a covered brush- 



46 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

keeper, or are suspended in liquid other than varnish, or 
are dirty around the binding and handle, or lousy. 

When the varnish room is used for all sorts of work, 
is not clean, the floor wet, the room not kept at a uni- 
form degree of heat, and is not free from everything not 
necessary in varnishing the job. 

When the painter has undertaken a job that he is not 
competent to carry through. 

When the varnish is not perfect, either in age or 
manufacture, or of the quality required to do a first-class 
job. 

TROUBLES OF THE PAINTER. 

Many are greatly troubled at times with their paint or 
varnish, and it is now our duty to enumerate some of these 
annoyances, and to explain why they occur and how to 
cure them. 

SPECKY VARNISHES. 

We sometimes have a job that looks as if a salt sprinkler 
had been shaken over it before the varnish was dry. It is 
full of little specks. Assured that there was no dust in the 
room, none in the brushes and no pumice-stone on the 
work, where shall we look ? Why, at your varnish I It 
has been in a cold or damp place ; the can was kept on the 
the floor (the coldest part of the room), and the varnish 
has become chilled, which has caused a separation of the 
driers from the oil, and the result is "specks." To cure 
the evil, set the can of varnish on two bricks upon the 
stove and warm it gradually ; don't overheat it ; then, 
always keep your varnish cans on a shelf up over the 
heater, where it is warm. 

CRAWLING OF PAINT OR VARNISH. 

When the paint or varnish draws up, and won't stay 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 47 

where it is put, it is called " crawling." This may occur if 
the under coat or surface is too glossy, or if the paint has 
grown fat by being ran through a heated mill ; or if the 
surface be chilled, or when there is grease or soap on the 
surface. 

Varnish is liable to crawl when put over an old though 
well rubbed surface of English varnish, and to remedy the 
evil, first apply a very thin coat of japan and turpentine 
equal parts, then apply the varnish over that, and it will 
not crawl. 

To prevent paint from crawling, wipe the surface with 
a damp shammy, or better wash the whole job and shammy 
it dry. Crawling on lake stripes is often seen, but the 
damp shammy rubbed over it will generally stop it. 

BLISTERING. 

The blistering of a varnished surface after the varnish 
has had ample time to dry thoroughly, is we believe, due 
entirely to the evaporation of moisture which lies con- 
fined under the varnish. We never see blisters occur un- 
less there is excessive heat upon the surface, and heat 
causes the evaporation of the confined moisture, which in 
turn raises the varnish, which has become soft by the heat, 
into puff-balls and blisters. Much of this is due to un- 
seasoned wood, and much more to moisture sealed up in 
the rough-stuff coats. The water used in rubbing pene- 
trates the porous paint, and many times, the job being in 
a hurry, a coat of paint is put over it before the moisture 
has dried out, and blistering follows. Boiled oil is fre- 
quently the cause of blisters, for that, drying, as it does, 
on the outside, and remaining soft underneath, deceives 
lihe painter, and other coats go over it, drying hard, and 
when a hot sun strikes the job, blisters follow. 



48 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
CRACKING OP PAINT AND VARNISH. 

A coat of paint which dries quickly and hard, put over 
an oily paint not quite hard, will cause cracking. It may 
not be seen until long after the job is finished, and it may 
be that large cracks will appear, or there may be " fire- 
checks " that is, thousands of exceedingly fine cracks run- 
ning in every direction. Almost all cracking of paint or 
varnish arises from this carelessness in putting one coat 
over another as above mentioned. Again, cracking may 
follow where a ready prepared paint was used, which, in 
order to cheapen it, was well dosed by the paint factor with 
chemicals, which act when coming in contact with oil, 
and form soap, which will never dry hard, and then the 
subsequent coats will open out into cracks. 

TO PAINT CANVAS-TOP SIDES. 

The standing sides of a business wagon top and the roof 
may be painted in an excellent manner as follows: First, 
mix some rye flour paste, the same as that used for paper- 
hanging, and give the canvas a good coat of it inside and 
out. Allow plenty of time for drying; then with new, clean 
sandpaper gently rub over to take off any nibs, etc. Next, 
mix white lead with japan and a little oil, say one-third as 
much oil as japan, thin with turpentine and give three 
coats, lightly sandpapering between each coat. Finish 
with white color and varnish, rub off with pumice, letter, 
etc., and finish with body finishing varnish. The curtains 
should not be prepared with paste, but may be tacked up to 
the wall and receive the same paint as is put on the sides 
and roof. They require to be flexible, and the paste would 
stiffen them. This plan saves paint, makes a smooth job, 
and a durable one as well. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 49 
GLAZING WITH CARMINE. 

Carmine gears and panels have frequently to be made in 
the wagon shop, and it is no easy task even for the ex- 
perienced painter to finish such work without clouds or 
streaks; therefore we believe the inexperienced may need 
some explanation of the way to do this work. 

First get the ground solid and well-rubbed out of color, 
and varnish (glazing on dead color seldom makes a good 
job), vermilion, Indian red, or whatever the shade of red, 
no matter. Then crush the lumps of carmine on the stone, 
mix in rubbing varnish and grind through the mill the 
same as any other color, being sure to have it just as fine 
as the mill can make it. Next, add more varnish until the 
color or glaze is not too strong. Slow-drying, rubbing or fin- 
ishing gear varnish is best. Now dust off the gear or the 
panel nicely, and flow on a good heavy coat; if a wheel, 
do only two or three spokes at a time, and be careful not 
to get any glazing on hub or rim; continue thus, finishing 
the rim last. Any lap you make will be seen, so don't 
make any . If it be a panel that you are working on, act 
with the glazing the same as if it was a finishing coat of 
clear varnish. 

Some attempt to flow a wheel all over, and then " lay it 
off," but in nine cases out of ten they "get stuck;" the 
safe way is the best. Do not take any risks with carmine, 
for it is an expensive color, and washing off a clouded job 
is not a pleasant task. 

On cheap work, Munich lake may be substituted for 
carmine, an; 7 but few can tell the difference when the 
glazing is done properly. Glazing should be saved, i. e., 
kept in a well-stoppered bottle, and it may be used for 
striping or for the next job. Don't throw it away. 



CHAPTER VI. 

"WAGON STRIPING. 

" That appears easy enough ! " exclaimed a visitor to our 
paint shop one day, while looking at one of the work- 
men engaged in striping a gear. And so it is — with the 
proviso — if you know how. 

Striping is an art acquired only by long practice ; one 
may look on for years, and then not be able to draw a 
straight line. Again, many suppose that to stripe well 
the workman must have a very steady hand, which is 
true only in part ; a steady hand or quiet nerve is certain- 
ly desirable, but it is not that only ; the eye must do its 
ehare of work, and the larger portion falls upon it. The 
eye must be quicker than the hand, to detect any varia- 
tion from the true path, and then, the brain telegraphs to 
the fingers to change the movement before a mark has 
been made. 

The mechanical work of striping may be easily acquired; 
but the artistic and inventive part must emanate from an 
inborn taste, or in short, from the brain of a ' natural 
genius." We might go on indefinitely and illustrate fancy 
striping for the benefit of those who will not try to make 
their own designs ; but we do not care to do so, and our 
aim is simply to show the general style of wagon striping, 
with explanations regarding the tools and materials used, 
leaving our readers to take their cue from these and 
then invent and put on their own ideas of a stripe. We 
will begin with 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 51 
THE STRIPER'S KIT OF TOOLS. 

Striping pencils are made of hair fastened into var- 
ious sized quills, or to wood, and there are a few made 
with a tin ferrule, but these are apt to cut the hair, and 
consequently they soon go to pieces and are of no ac- 
count. Sable-hair pencils are the most expensive, ranging 
in price from 50 cts. to $8 each ; they are made from the 
hair on the tip of the tail of the sable martin (an animal 
of the weasel family) and it is the scarcity of the hair 
which creates the high price. 

A sable pencil for fine lines, where heavy color like 
white lead is used, is excellent, as it is sufficiently elas- 
tic to hold up the color and yet make a clear, full stripe. 
There are two kinds of sable hair, the red and the black, 
either of which will make good stripes : but the red hair 
is more extensively used for artists' pencils, owing to its 
shortness, being seldom over three-quarters of an inch in 
length. 

Camel's-hair pencils are made in the same manner, i. e., 
in quills and fastened to wood. The hair is much softer 
than sable, and for this reason, as well as their low price, 
they are universally preferred. 

STRIPING PENCILS. 

Striping pencils are made in many sizes and designated 
by numbers by the manufacturers, from No. 1 up to No. 12. 
The d pencil in size from % of an inch upward is used 

for stripes of any size above % of an inch in width ; but 
the round fine lining pencils have been generally super- 
seded by what is known as the "sword pencil," or " dag- 
ger pencil." These are not generally for sale in the stores, 



52 THE COMPLETE CARRIAGE AND "WAGON PAINTER. 

and the painter must make them to suit his wants. To do 
this, take apiece of hickory or other strong wood and cut the 
handle as shown in the accompanying engraving, Fig. 9. 
The flattened part is that held between the thumb and finger. 
Next split the end, and put a pin across the split to keep it 
open ; then take from a large pencil a small bunch of hair, 
say fifty hairs, and dipping the butt end in melted glue, lay 
them carefully in the split, draw out the pin, when the parts 
will close together, and then a piece of thread may be tied 
around over the split to secure it. The ends of the hairs 
should not be cut if it can by any means be avoided, as the 



Fig. 9.— "Dagger" Pencils. 

cutting tends to destroy the softness of the point. In our 
illustration A is a " dagger pencil " when dry, and B is the 
same when wet with paint. 

These pencils are held edgewise to the work, and but 
one-half the length of hair is allowed to touch the surface. 
A stripe from five to six feet in length may be drawn 
without refilling the pencil, the large quantity of hair 
acting as a reservoir for the paint ; and several sizes of 
lines may be made with the same pencil by simply regu- 
lating the pressure upon it, a heavy pressure making a 
heavy stripe and a light one a finer stripe. The painter 
may easily learn to do this by practice., although beginners 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 53 

mar find it difficult to maintain a uniform pressure, and 
consequently a uniform stripe over all parts of the work. 

The hair for striping pencils should be at least two and 
a quarter inches long — if too long the hairs will droop or 
sag down, and if too short, a straight line cannot be made. 

Ox-hair pencils, also used in striping, are made from the 
hair which grows in the ear of the animal, and these are 
considered excellent for striping wagon gears, particularly 
where heavy color is used. 

Fig. 10 represents the striping pencils used by New York 
painters. 




Fig. 10. — Striping Pencils. 
The proper position of the hand while striping the rim 
of a wheel is shown in Fig. 11. The pencil is held between 
the thumb and fore-finger and the other fingers act as a 
gauge or guide. During the striping, the wheel is kept 
revolving by the left hand, while the pencil is held sta- 
tionary in the right hand. The pencil will require refilling 
frequently, and care should be taken that this is done uni- 
formly. 

ZINC PALETTES. 

A zinc palette is said to be the best for working or thin- 
ning the paint upon, as it is so easily cleaned after its use. 
Procure a piece of smooth zinc say three inches wide and 
nine inches long, cut the ends round, and make a hole in 
one end by which to hang it up when not in use. The 



54 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

pencil is first dipped into the paint and then worked out 
to make it uniform upon the zinc palette. To extend a 
stripe where the paint has been insufficient in the first 
movement, the line should be retraced for several inches, 
or the connecting stripe will be smaller or not. so well cov- 
ered as other parts. 

Small tin cup3 are best for holding the striping paint — 
blacking boxes or lids to tin boxes may be used to advan- 




Fig. 11. — Showing the Position of the Hand in Striping 
the Rim of a Wheel. 

tage — many use large clam-shells, and we believe it a good 
plan, as when they are gummed up with old paint they can 
be thrown away with no loss. 



CARE OF PENCILS. 

Pencils should be well cared for after use. It is a good 
plan to keep them in a small wooden box with a lid to ex- 
clude dust, and supplied with a piece of glass upon the 
bottom on which to spread the pencils. They should be 
well rinsed in turpentine after use, then greased with a 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 55 

mixture of tallow and sweet oil — which does not harden 
in cold weather — and nicely straightened out and stuck 
fast to the glass, the broad ones on one side and grading 
the sizes down to the hair liners, so that in case one is mis- 
sing from its place it can readily be discovered, and so that 
any particular size can be taken up without disturbing the 
others. When a pencil gets bent or crooked, grease it and 
draw the hairs between the finger and a warm iron. 

PENCILS FOR ORNAMENTAL STRIPING. 

The pencils for ornamental striping are similar to those 
spoken of, but the hairs are shorter, and a long wooden 
handle is necessary. The hair should be about half an inch 
in length, and we have always given preference to red 
sable hair. In case these pencils cannot be easily procured, 
a camel's -hair striper may be cut down and drawn through 
a fine quill. 

COLORS FOR STRIPING. 

The paint or " striping color " maybe mixed as for color 
on bodies, but it may be found best with some colors to 
add a little more oil. Tube colors are preferred by some, 
but we do not agree with the plan of using them for 
striping, from the fact that they are all "too short." i. e., 
do not floiv as nicely from the pencil as home-made colors 
do. A smart rub with the stone and muller will render 
any of the ordinary pigments fine enough. 



CHAPTER VII. 

WAGON STRIPING. 

Carriage striping and wagon striping are two distinct 
branches of trade, and yet he who can do the one well will 
be equally successful in the other, by which we mean, it 
is not the manipulation of the tools which distinguishes 
one from the other, but the style, the position of the 
stripes, and the colors. Therefore, when once the carriage 
striper learns where and how to place his stripes on a 



Fig. 12. Showing a Striping generally used on Business 
Wagon Gears. 

wagon he becomes a wagon striper, and vice versa. The 
carriage striper has certain arbitrary combinations of 
striping, each having a name, as for example the fol- 
lowing: 

" Hair line." 



Fine line.' 1 
Medium." 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 57 
"Stout line." 

" Round line." 




" Heavy round line." 
"Light stripe." 
"Narrow stripe." 

"Medium stripe." 
"Heavy stripe." 




" Broad stripe." 



Double fine line.' 




" Double medium line. 



Double stout line. 




58 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

" Double round line." 



" Double light stripe." 



But these are ignored by the wagon striper, most of his 
work beingthat known as "panel striping" on gears and 
fine lining on bodies. 

The stripes generally put upon business- wagon gears are 
a three-sixteenth of an inch stripe and a fine line, as shown 
in fig. 12. 

These stripes are sometimes put on plain and sometimes 
twisted in various forms to give variety or to "fill up" 
certain parts as shown in Figs. 13 and 14. 

All such work is done off-hand — that is, no pattern is 
used, the eye alone guiding the hand, and it is surprising, 
sometimes, to see the uniformity given to wagon stripes, 
when it is remembered that not even a mark was 
made to insure it. There is as much necessity for prac- 
tice in laying out the striping as there is in making the 
stripe, and we frequently see apprentice boys devoting 
all their spare time in practice at such work. 

In Fig. 15 is shown a panel stripe for spring bar and 
like pieces, the fine line being generally "put in" in two 
colors, as for example, if the fine line be white on a dark 
ground, the feathering and dots may be "put in " with 
light blue or red. A few light touches with the striping 
pencil will often add to the appearance of a job, and these 
should never be begrudged. 

Fig. 16 shows the manner of striping the top of a spring, 
the broad stripe being run on the edge of the leaves, and 



THE COMPLETE CARRIAGE ANJ> WAGON PAINTER. 59 

a simple straight fine line finishing it. This part of the 
gear is not so easily seen as the other parts, and it would 




Fig. 13. 




Fig. 13. Striping for Business Wagon Gears, 
Another Method of Striping Gears. 



60 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

be a waste of time to elaborate the striping; however, if 
other parts are profusely covered with fine lines, these 
places should at least approximate thereto. 




Fig. 15 



Fig. 16. 

Fig. 15. Panel Striping for Spring-bars. Fig. 16. Strip- 
ing the Top of a Spring. 






THE COMPLETE CARRIAGE AND WAGON PAINTER. 61 

Fig. 17 shows the back end of the shafts, and a portion 
of the cross-bar, giving an idea how a stripe may be 
pnt on such places. 




Fig, 17. Showing a method of Striping the Cross-bar 
and back end of the Shaft, 



62 THE COMPLETE CARRIAGE AND WAGON PAINTER. 



BREAKING LINES. 

Fig. 18 illustrates what is known as a "break" in a 
double fine line," and is used to break the monotony of a 
continuous stripe. It is useful on 
body bolts or name panels as well 
as on gears. 

A "POUNCE BAG." 

Fig. 19 gives a general idea of 
the finish at the end of a panel 
stripe. Such designs require pat- 
terns, and to make them, take a 
piece of thin tissue paper and copy 
the illustration, or draw a new de- 
sign, then perforate the paper with 
a needle into small holes, thus : 




following every outline of the de- 
sign ; then tie up in a piece of thin 
muslin some whiting to form a 
"pounce-bag." Lay the paper pat- 
tern upon the desired spot, holding 
it firmly, or fasten it with tacks, 
and rub or pounce the whiting 
from the bag over it. The whiting 
will penetrate the holes and leave 
a well-defined outline on the work, 
which may be followed with the 
pencil and paint. 

Fig. 20 is a similar design. These 



Fiq. 18, Shotting 

" Break" in Strip- come under the head of fiat scroll- 
ing, ing, of which more anon. 



THE COMPLETE CARRIAGE AND WAGON PAINTER, 68 

*.t is the usual plan with ribbed bodies to " black off " the 
ribs on all work painted in dark colors, such as green, blue, 
brown, etc., but where the job is light, as vermilion, 
Paris green, cream or yellow, the contrast would be too 
great, and therefore the ribs are strioed on the chamfers 




Fig. 19.— £ ho wing a 
Finish for the End of 
a Panel Stripe. 



Fig. 20.— Showing an- 
other Style of Finish 
for the end of a Panel 
Stripe. 

thus "lightening up" the 



with a T Vinch stripe of black, 
appearance of the job. 

Ornamental corners are frequently added, and particu- 



64 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

larly where the panels are striped; but striping on the 
panels of a ribbed job is very seldom seen, and then on 
cheap work only. 

GOLD STRIPING. 

Gold striping is done in the following manner: Fir-at, 
having the body well rubbed out of color-and-varnish with 
pulverized pumice stone and washed clean, it is necessary 
to pounce over the entire panel on which the striping is to 
go, with the whiting pounce-bag. This leaves a thin fLm 
of the powder on the surface and prevents the gold leaf 
from sticking to any part not covered with gilding size.* 

GILDING SIZE. 

The size used for this work may be a mixture of one 
part finishing varnish and two parts good brown japan. 

The proportions may be changed to suit the time at 
disposal, but the formula given will make a size which 
will set "tacky" in an hour, in good weather. Avery 
little turpentine may be used to thin the size upon the 
palette, and care must be taken that the size is not " fat," 
leaving heavy edges to the stripe. 

The size should flow down smooth and even in all parts, 
and the gold leaf should not be laid on until the hand can 
be gently passed over it without sticking — but when placed 
directly upon it the size appears " tacky" or " sticky." 

When the gilding size is too "wet," the gilding will be 
rough ; and when too " dry," the gold leaf will not adhere 

* We use the word '• gilding size " to distinguish it from a drier or 
sort of japan found in the market under tho name of " gold-size," which 
is not intended, nor can it be used for laying gold upon. Many are led 
astray by the name, and the anathemas heaped upon it when put to 
use as a gilding size are often heavy enough to sink it to oblivion— 
where it ought to be. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 65 

to it, so it is of the utmost importance that the size be in 
proper condition. Gold leaf is purchased in small books 
of 25 leaves, %% inches square, the price ranging from 
30 to 50 cents per book. There are three grades, viz. : light, 
medium and deep ; the latter generally receiving the 
preference. 

APPLYING GOLD LEAF. 

There are several ways of applying I he leaf to the stripe, 
but the tools used by the frame gilder such as "tip" 
"cushion," "gold knife," etc., should find no resting place 
in the wagon shop; there is no need of them except when 
working on glass or in gilding scrolls and figures carved 
in wood for circus or band chariots, then those tools may 
be employed. When about to lay a gold leaf on striping 
first cut the back of the book with a sharp knife, or with a 
pair of shears, so that each leaf is separate, then lift the 
first leaf and laying it on a flat surface rub it gently with a 
piece of white wax or better still, apiece of parafnne candle. 
This slightly greases the paper and if it be replaced upon the 
gold the leaf will adhere very closely to it. Next lift and 
grease the second, and so on until the whole 25 leaves are 
done ; then with a sharp knife, guided by a straight-edge, 
cut through the book, making strips a trifle wider than the 
stripe ; the gold will then adhere nicely to the paper and 
no great care need be taken in handling it. 

Now, the gilding size being " tacky," lift one of the strips 
of paper and gold and carefully place the gold upon the 
size ; gently rub the finger over the back or paper, then 
take the paper away and the gold will be found nicely 
fastened upon the gilding size ; go on with the next until 
the size is covered, take up any loose gold with the tip of 



66 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

the finger, and repair any broken or missed places ; then 
wipe over gently with a bunch of soft cotton. 

Another plan is to dampen the paper with turpentine 
instead of using wax or paramne, but we do not believe 
it so good a plan as the one just described. 

GOLD STRIPING. 

A gilding machine, invented by George W. Langdon, of 
Baraboo, Wis., answers a very good purpose where much 
gold striping is done. It consists of various sized wheels, 
having rubber rims, fitted to an adjustable handle, and so 
arranged that the wheels may be readily changed for any 
width of stripe. To use it, the leaf is laid upon a leather 
cushion and cut, as when using a " tip" in frame gilding. 
The wheel is now rolled over the cut piece, which ad- 
heres to the rubber tire, and then, if the wheel be rolled in 
like manner over the size, the gold will leave the rubber 
and adhere to the size. One single straightforward mo- 
tion will distribute the leaf upon a tacky surface or stripe, 
leaving nine inches of gold stripe perfectly laid. Many 
lay the leaf directly from the book, rolling it over the 
gilding size as desired ; but this must be left for experts, 
as an amateur would waste a large share of gold thereby. 

When the striping is finished and quite dry, the job 
should be washed with soap and water to remove any 
greasiness or paraffine, which would cause trouble with the 
varnish; then it will generally be found best to run a fine 
line of white, blue, red or green on the edge of the gold 
to straighten out any defects. A red fine line on one edge 
and a cream-colored fine line on the other will look well 
on green grounds. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 67 

Gold bronze is used extensively for gilding wagon work, 
and if a good quality of bronze be purchased some excel- 
lent work may be done with it. The preparation of the 
surface, and the size used, are the same as for gold leaf, 
the only difference being that bronze is a fine powder in- 
stead of leaf. To apply the bronze take a piece of shammy, 
velvet or plush and tie it up into a small pad, then dipping 
it into the bronze gently rub it over the work. It is a good 
plan to coat the stripe of bronze over with French shellac 
varnish before laying on copal varnish, for there is some- 
thing like an acid in ordinary varnish, particularly English 
varnish, which acts on the bronze and bringing a sort of 
verdigris to the surface causes the gold to darken. The 
shellac prevents this. 

" GOLD PAINT." 

There is what is called " gold paint" in market, which is 
extensively used for striping, but it is simply gold bronze 
mixed with a thin japan, and, as any one can make it for 
himself, it should be left to school-boys and artistically 
inclined females. Silver leaf and silver bronze are seldom 
used, owing to their liability to change color and become 
almost dark ; but a substitute can now be found in deal- 
ers' stores which does not turn color, and it is extensively 
used on street cars. Nickel leaf is the name of this sub- 
stitute ; it comes in tissue paper book, 4)^ inches square. 
"Dutch metal" is only fit for scene-painters' use. There 
are also various colored bronzes, but as they are seldom 
used on wagon work, we will pass them by. 



CHAPTER VIII. 

COLORS EMPLOYED ON WAGONS. 

No. 1. Bib Body Business Wagon.— Body, chrome 
green or milori green; ribs and frame, black, striped with 
fine lines of white, cream color, or vermilion; gears, cream 
color, striped with broad lines, from ■& to }£ inch wide, of 
blue, dark green, or black, and fine lines of vermilion or 
blue. 

No. 2. Same Style of Wagon.— Body, Indian red glazed 
with carmine; black frame, striped with vermilion or 
cream color; gears, light English vermilion, striped as 
above with black, and white fine lines. 

No. 3. Same. — Body, medium chrome yellow; ribs 
striped as before directed (not " blacked off"), fine lines of 
red or black; gears, light English vermilion, striped T \ in. 
black, and fine lines of white. 

No. 4.— Body, deep English vermilion; ribs striped 
black, and fine lines of white; gears, light vermilion, 
striped black and white. 

No. 5. Delivery Wagon.— Body panels, deep carmine; 
belt panel, dark green; top, black; gears, dark green, striped 
with double fine line of gold, either leaf or bronze, 

No. 6. Same. — Body panels, deep olive green; belt panel, 
carmine; top, black; lettering, gold; gears, light vermil- 
ion glazed with carmine, striped with black and fine line 
of gold. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 69 

No. 7. Same.— Body panels, black; moldings, carmine; 
belt, light olive green; top sides, deep carmine; all the rest 
black; gears, dark olive green, with black and cream fine 
lines. 

PAINTING A WHITE JOB. 

It is a well known fact that white jobs, such as circus 
wagons, sleighs, hearses, etc., will remain white and wear 
better if the surface be polished or rubbed to an egg-shell 
gloss instead of receiving a coat of clear varnish. To do 
such work, bring up the foundation as before directed, ex- 
cept that in using lead color, pure white lead be substi- 
tuted, and white rough-stuff also takes the place of the 
slate-colored or dark variety. To make such rough-stuff, 
take dry white lead, one part; pulverized soapstone, two 
parts; ground pumice stone, one part; and mix with 
brown japan and turpentine; then add a gill of oil to each 
pint of paint. 

When the job is rubbed out of rough-stuff apply two 
coats of pure white lead as color, follow this with color 
and varnish made of keg lead one part, zinc white one 
part and grind in rubbing varnish. When that is dry and 
has been nicely rubbed with pulverized pumice stone, 
apply a second coat of color and varnish made in the same 
manner, but substituting wearing body varnish for the 
rubbing. When this coat is dry give the work a gentle 
rub with pumice stone and water until a nice egg-shell 
appearance is obtained, wash off, and put on the striping, 
lettering or whatever it is, and then pencil -varnish the 
stripes or letters, leaving the white ground untouched. 
This will give a beautiful white, and a better job than 
any other method we have yet discovered. 



CHAPTER IX. 

WAGON LETTERING. 

In these days of great inventions, when we can pur- 
chase "lettering ready made," in pasteboard patterns 
nicely cut out, templets of metal, whereby the whole 
alphabet may be marked out, and finally ingeniously 
contrived transfers or decalcomania, it seems almost a 
waste of time to lay out directions for painting letters 
with a pencil. But our plan would be incomplete without 
a chapter on the laying out and painting of letters for 
wagons and cars. It was at one time the wagon letterers' 
good fortune to possess "an occupation and a name" above 
that of the sign writer. His work could be readily dis- 
tinguished from the ordinary letterer or sign painter by 
its boldness and the care given to details, particularly in 
shading, where glazings of carmine or other transparent pig- 
ments gave a richness and finish which could not emanate 
from the hands of those not intimately connected with 
the trade. These days have gone by, and we find the well 
known and approved style of the wagon letterer prostituted 
to the idiosyncrasies of house and sign painters, who have 
migrated, some from foreign shores, others from their 
regular trade, to swell the ranks as professionals (?) in 
wagon shops. The consequence is, that instead of having 
a few standard styles of letters to write about, we might, 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 71 

to cover the subject, take our text from a printer's speci- 
men book, so varied and multitudinous are the letters now 
in vogue. 

The aim of the wagon letterer should be to make his 
work plain, yet bold and attractive, for the words he puts 
upon a wagon are to be read as the vehicle is in motion, 
while he who wishes to decipher a sign may pause in his walk 
to do so. Therefore, fine lines, as in some of the Roman 
letters, and all fancifully-twisted arabesques, called 
letters, are out of place on the sides of a wagon. 

The standard styles of the wagon letterer are the Full 
Block, round and octagon ; Half Block, round and oc- 
tagon ; Solid Block and Italic ; and these, extended or 
condensed. 





Fig. 21.— Octagon Full Block Letters. 
The Full Block letter partakes much of the character of 
the Roman letter. It is bold, or "heavy on the face," and 
when well made is by far the handsomest one on the list. 
This style of letter never looks well condensed, but it may 
be extended to an almost unlimited extent, without the 
loss of any of its characteristics. In its normal condition 
the Full Block occupies nearly a square space (see Fig, 



72 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

21), the measurement always being taken from the outer 
edge of the main bars, the " spurs " being allowed to run 
over at will. There are but few letters of the alphabet 
which fill the same space, and when an attempt is made 




Fig. 22.— The Full Block Bound Letter. 

to form the letters geometrically, a mechanical rather than 
an artistic appearance is given. 

An octagon Full Block letter possesses a geometrical equi- 
librium superior to the Bound Letter, but the latter (Fig. 22) 



</. 




"7 



Fig. 23. — Showing the Method of Cutting off the Corners 
of Bound Letters. 

is frequently used on good work to give variety. These 
letters are generally made with the lower spurs a trifle 
heavier than the upper ones, and this is done to give a 
more solid foundation, although the difference is almost 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 73 

imperceptible — and the eye is deceived as it is when look- 
ing at the letter S, which is much larger in its lower circle 

than the upper one — (see fright, andV^ wrong side up). 

The corners are cut off at an angle a very little less than 
the width of the bars of the letter, (see Fig. 23), although 
in the extended letter. (Fig. 24) the corners may be cut off 
from line to line. 

The Bound Full Block, as before said, may be used to 



-? "v^ 



24.— Showing how the Corners are Cut off Extended 
Letters. 



give variety, but it is not so neat a letter as the octagon. 
In all respects this letter is the same as the octagon except 
in the formation of the corners. 

The Half Block letter is next in order. This letter is sim- 
ply the " gothic" of the printer, with a few alterations. We 
show in Fig. 25 the octagon half block, which is one of the 
most useful letters of the wagon painter. It may be con- 
densed, but its extension is not advised beyond a small limit. 
Fig. 26 shows the half block round letter. There are some 
peculiarities about the half block style of letter that we wish 
to call particular attention to. First, the formation of the 



74 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

letter M. We show in Figs. 27, 28 and 29 the difference 
made by letterers, Fig. 27 being the recognized or correct 





Fig. 25.— Octagon Half Block Letters. 




Fig, 26.— Half Block Round Letters. 
one. Again in Figs. 30, 31 and 32 the letter R, round half 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 75 

block, is shown in three styles, some preferring 80, others 
31, while 32 is a showcard writer's letter. 




Fig, 27. Showing the Correct Method of forming the Half 
Block Letter M. 





Fig. 28. Fig. 29. 

Showing two Incorrect Methods of forming the Half Block 

Letter M. 

The letter G has its crossbar carried across as shown in 




Fig. 30. Fig. 31. Fig. 32. 

Showing the Letter R in Three Styles. 



76 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

Fig. 33, which is a sign writer's style, the true wagon let- 
ter G being formed as shown in Fig. 34. The outline letter 




Fig. 3S.—A Show Card Let- 
ter O. 



Fig. ZL—The Letter O as 
Correctly Formed by 
Wagon Letter ers 



is simply a letter outlined and not filled in. It is exten- 
sively used on the sunk bottoms of street cars and omni- 




Fig. 35.— The Outline Letter. 



buses, but seldom seen in other places. 
Fig. 35 is an illustration of this style of letter, 




THE COMPLETE CARRIAGE AND WAGON PAINTER. 77 

The square block letter is made with all its parts alike in 
width, or nearly so. We show in Fig. 36 the solid block 



ACQUE 



Fig. 36.— Solid Block Letters, 
letter, and this may be made either octagon or round. It 
is a very bold letter, borrowed from the type-founder who 

Fig. 37.— Italic Letters. 
calls it "Antique." When nicely shaded it is very hand- 
some, and is extensively used in New York. Italic letters 




Fig, 38.— Another Style of Italic Letters. 
are simply letters set at an angle, as shown in Figs. 37 and 
38. 
The printer's black letter, generally called by the letterer 

Fig. 89.— Printer's Black Letter or German Text. 



*tB SHE COMPLETE CARRIAGE AND WAGON PAINTER. 




Fig. 40. — Ornamental Letters. 

*' German text," we show in Fig. 39. This letter makes a 
very tasteful line, if well put on, and may often be seen 

PICKED 

Fig. 41.— Another Style of Ornamental Letters. 

on the delivery wagons of bon ton storekeepers. 

Ornamental letters, as shown in Figs. 40 and 41, look 
well on some jobs ; being bold, they are much better 

LEVERS 

Fig, 43.— The Tuscan Full Block Letter. 

adapted for wagons than the Roman and many others now 
used. 

The Tuscan full-block letter, shown in Fig. 42, may be 
used in place of the ordinary full-block, and particularly 
where a condensed letter is desired. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 



79 



It is a singular fact that almost every particular city has 
a local style of lettering, both for wagons and signs. Bos- 




Fig. 43. 



TPi^icir 



Fig. 44. 




Fig. 45. 
Three Styles of Letters used by the Abbot Downing Co, 

ton has a very peculiar style ; Philadelphia another ; 
yet they all appear well when one gets accustomed to 
them. 

The Abbot Downing Co., of Concord, N. H., introduced 
a new and tasteful style of lettering for express wagons, 
which we show in Figs. 43, 44, 45. 



CHAPTER X. 



\ Wagon Lettering Continued. 



THE ROMAN LETTER. 

The Roman letter may be taken as the standard or base for 
all other alphabets. It is used more extensively now than 
in former years on every description of work, but it is 
seldom we see a perfectly formed letter, owing in a great 
degree to carelessness on the part of the student when learn- 
ing its peculiarities. The graceful turn of the letter S, the 




Fig. iQ.—The Modem Old Style Letter. 

lower limb of the letter R, or the short and (&) seem to be 
something that few can master, and for that reason a sort 
of hybrid letter has of late been introduced, in which the 
difficult parts may be said to be avoided. We show in Fig. 46 
the letters R and E, to illustrate the points spoken 
of. As will be seen, the letter R is provided with a straight 
limb or tail, and the E possesses features which take away 
the uniformity or squareness of the letter, and thus the 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 



81 



necessity of reaching a high standard of Roman lettering 
is obviated, and the workman is enabled to palm off an 
abortion and call it perfection. This style of letter is 
called " modern old style," and its introduction may be 
laid directly to the influx of second-rate workmen. 

There is a marked difference in the formation of the 
Roman letter in different cities. To clearly show this, we 
present the New York Roman letter in comparison with 
the Boston Roman, the former being considered by the 
general public as the most graceful in outline and correct 
in principles. These letters were painted in black and then 
photo-engraved to the size here shown (Fig.47) for this work. 







Fig. 47.— The New York Roman Letter. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 





G H 








jp{g t 47. — Continued, 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 




MN 

P 




Fig. 47.— Continued. 



84 THE COMPLETE CARRIAGE AND WAGON PAINTER. 




R 





U V 



Fig. 47. — Continued. 






THE COMPLETE CARRIAGE AND WAGON PAINTER. 86 

WX 



Y 




& 



Fig. 47.— Continued. 



86 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
THE NEW YORK ROMAN ITALIC. 

This letter is one quite easily made, after a thorough 
knowledge of the Roman letter has been gained, for it is 
very similar in construction. It is extensively used on 
wagon sides to give variety to the work, and it certainly 
looks well, if care is taken to make the slants of each letter 
correctly. In Fig. 48 we present the alphabet. 

ABC 
DEF 
GUI 

Fig. 4$.— The New York Roman Italic Letter. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 87 

J EL 
MNO 

PQ R 
S TU 



Fig. 48.— Continued, 



88 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

vwx 

Y Z & 

Fig. 48.— Continued. 
The "Lower Case" letters are shown in Fig. 49. 

abode 
fghijk 

Fig. 4S.—New York Roman Italic, Lower Case. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 8 

Imnop 
qrstuv 




Fig. 49.— Continued. 

THE BOSTON ROMAN 

This style, as shown in Fig. 50, is the outgrowth of the 
work of artists of this country and of Europe from, cen- 
tury to century. The crude characters at the beginning, 
no doubt, would not for a moment bear comparison with 
those used at the present time. The letters combine the 
boldness of the block with the grace and symmetry of the 
script, and are preferred by the business men of Boston 
to any other style of letter made, although the Queen 
Anne revivalists have played sad havoc with their pet 
hobby. 



90 THE COMPLETE CARRIAGE AND WAGON PAINTER, 

AB 

CD 

EF 



Fig. 50.— The Boston Roman Letter. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 91 

GH 




KL 



Fig, 50.— Continued. 



92 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

MN 



OP 

OR 



Fig. 50.— Continued, 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 





UV 



Fig. 50.~-Continued. 



94 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

YZ 

Fig. 50. — Continued. 

Among a dozen first-Cxass sign writers there is con- 
siderable difference in opinion and custom as to minor 
points in the construction and spacing in this alphabet, 
especially the letters B, C, P, R and S, and letters involv- 
ing like curves and principles. When used on wagon, par 
or sign work, it looks best in gold on a black smalt 
ground. 

In this letter, each, with a few exceptions, occupies a 
square. The letters C, G, O and Q are described within 
a perfect circle, although the minor curves must be drawn 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 95 

free-hand, observing to keep the proper thickness, which 
is a trifle more in these letters than in the heavy perpendi- 
culars of most other letters. The thickness, according to 
the best authorities should be two-ninths of the height, 
although the appearance is good when made one-fifth. 
The hair lines extend right and left from the grace lines 
two-thirds of the two-ninths, and the grace equal in width 
to the hair line. 

Observe, however, that the hair and grace lines are a 
trifle shorter above the centre of the letter, and should be 
made one-sixteenth of two-ninths the thickness. Also notice 
that the lower arms of the B, E, S and Z are a trifle longer 
and heavier than the upper ones, which serves to balance 
the letters, otherwise they would appear top-heavy. Avoid 
spacing this letter too openly, as that gives a scattered ap- 
pearance. 



CHAPTER XI. 

LAYING OUT WORK. 

In laying out work first prepare the surface, if for gold 
letters, by pouncing the panel with whiting, dust off 
nicely, then draw the lines which form the boundary of 
the letter with chalk. 

Taking the most useful letter for either wagons or cars, 
and one quite easily made, for a criterion, i. e., the half- 

I 



Fig. 51. — Showing how a Half Block Letter is Designed. 

block letter, we proceed as shown in Fig. 51, by first 
laying out the top and bottom lines, then divide the space 
between them into five spaces, for a perfectly formed 
letter is one-fifth higher than wide. By this plan you will 
make six horizontal Jines. The bars of a letter of this kind 
should be equal to one-fifth its height, consequently, we 
now have the lines for the top bar, the bottom bar, and 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 



97 



the middle bar of the letter. We next divide the horizon- 
tal lines by perpendicular ones, forming three and a half 
squares, and this gives us the extreme dimensions of the oc- 
tagon block B, C, D, G, H, O, P, Q, R, S, T, U, V, Z, &. The 



• ■ J • 

■ 



Fig. 52.— Showing how an Ellipse is Used in Making 
Round Letters. 

round block letters occupy a very little more space, say, 
one-quarter of a square, the letters E, F, J, N and L be- 
ing one-quarter of a square less than the extreme 
boundary. The letter I is simply the width of one square. 
The letter W extends over one square, making it occupy 
four and one-half squares. 

In Fig. 52 we show how the ellipse is used in making 
round letters. All round letters are governed in their cir- 
cular parts by the ellipse, or oval as it is more frequently 
called, and to illustrate this fact we present here in Fig. 
53 the alphabet in lower case letters of the Gothic Half 
Block style. 



98 THE COMPLETE CARRIAGE AND WAGON PAINTER. 






de 
gh 




Fig. 53.— Gothic Half Block Letter, Lower Case. 



COMPLETE CARRIAGE AND WAGON PAINTER. 99 





mno 






Fig, 53. — Continued, 



100 THE COMPLETE CARRIAGE AND WAGON PAINTER. 






vwx 





Fig. 53.— Continued.. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 101 

To make an ellipse will now occupy our attention. 

Supposing the line of letters we are about to form are 
five inches high, we must, in order to have the line appear 
perfectly straight, or the letters of one height, make all 
the round letters, i. e., C, G, O, S, Q, to extend a trifle 
above and below the lines, say one-eighth of an inch, as 
illustrated in Fig. 52, otherwise these letters would appear 
smaller than the others in the line. To lay out such 




Fig. 54. — Showing the Manner of Drawing the Ellipse. 
letters then, using an ellipse, we cut from a card a pattern 
after it has been drawn in the following manner : The oval 
or ellipse must be a very little over five inches long, and a 
very little over three and a half inches wide. First draw a 
horizontal line through the centre, which will be seen in 
the engraving, Fig. 54, marked N N. Then across its 
centre draw a vertical line H H. Next measure from 
the centre one-half the desired length of the ellipse, 
t. e., two and three-quarter inches each way or 



102 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

line N f and one and three-quarter inches on line 
H, which gives the space that the oval or ellipse must 
fill. Now take the compasses (or dividers) and put" 
ting one leg on the centre M place the other leg at the 
point, two and three-quarter inches off on line N, lift the 
compasses, being careful not to displace them, and set one 
leg on spot iJ, one and three-quarter inches from centre, 
and turn the other leg down to line JV, which it will strike 
a short distance inside of the spot N, and that spot is 
marked O in the engraving. Then turn it to the other 
side of centre M, and mark the other spot O on line JV. 
Now stick a pin or tack into the spots O O and H, and tie 
a piece of thread around the three pins. Next, remove 
the pin at £T, and put in its place a pencil, as shown in the 
engraving, and, keeping the thread taut, move the pencil 
along. You will find that the string directs the course of 
the pencil point, and the result will be a perfectly-drawn 
ellipse. 

The ellipse may be made any size or shape, i. e., long 
and narrow, or broad and short, by simply laying out the 
measurements on the lines Hand JV. For instance, if we 
measure twenty inches on the line iVand four inches on the 
line H the ellipse will be long and slim, but nevertheless a 
a perfect ellipse. Having drawn the ellipse, lay the card 
upon a piece of glass, and with a sharp knife, cut out the 
pattern, which may then be used for marking out the round 
letters C, G, D, O, Q, S, and the lower part of the letters U 
and J. 

The card-board ellipse is laid upon the proper place, and 
the pencil is passed around it, then the points as in C and 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 103 

G are formed. The lower end of the letter G, i. e., its 
cross-bar, is made a very little lower than the middle bar 
lines. 

A small ellipse pattern for laying out the lower case of 
the alphabet, shown in Fig. 53, will be found excellent, 
for nearly all of these letters are based upon the oval. The 
lower case letters are made 3J£ squares of the capitals in 

5320 

Fig. 55. — Showing Four Properly Balanced Figures. 

height, and the long letters such as b, d, f , h, k and 1, run 
up to the full five squares, while g j, p, q, and y run below 
an equal distance, making either letter five squares in 
height. 

All letters should have a perfect balance, that is, if they 
were cut out of a block they could be set upon their bases. 
We here illustrate a few figures to show this feature (see Fig. 
55) as well as to illustrate three of the most difficult fig- 
ures to make, so that they will be evenly balanced, name- 
ly, 5, 3 and 2. 



CHAPTER XII. 

SHADING. 

Again we are called upon to deplore the inroads made 
by sign and show card letterers. It was formerly the 
custom to shade all letters on the right side and bottom, 
except in the case of the sunk-bottom of cars, when the shade 
was thrown on the top and right side. But now we see 
the shade frequently put upon tho left of the letter (it is 
easier to do, they say), which entirely breaks the charac- 




Fig. 56. — Showing an Octagon Half Block with a Single 
Shade Blocked. 

teristic of the wagon letterer. There may be a few sign 
writers who can letter a wagon according to rule, but, as a 
general thing, their work falls below the standard. 

We show in Fig. 56 an octagon half-block with a single 
shade, blocked, i, e., made darker on the bottom than on 
the sides. This may be done by shading with vermilion 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 105 

on the sides and ends, then glazing the bottom with car- 
mine. Fig. 57 shows a double shade blocked. This may 
be done by shading the sides vermilion, the bottom Indian 
red, and then running on the second shade over each, 
covering one-half the width with carmine. It shouM be 
remembered that the darkest shade always comes nearest 
the letter. On gold lettering the shade always touches the 
edge of th? gold, but in paint letters a space is left between 
the letter and shade, see Fig. 58. The shade never looks 
well if made wider than the bars of the letter, and the 
angles formed by the end of the shade should be uniform, 
and should be determined by the angle of the square- 
generally forty-five degrees. However, the shade is some- 
times made wider on the bottom than on the sides, and then 
the angle will be inclined more nearly to a perpendicular. 




Fig. 57. _ Showing a Double Shade Blocked. 

Shading should be done in the same manner through- 
out a piece of work ; that is, if one line be shaded on the 
right side, all lines on the job must be done so. On red 
grounds, gold letters are generally shaded with black, and 
then the double shade is made by extending the width of 



106 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

the shade, by running a carmine glaze outside of the black. 
The colors employed in shading should harmonize with 
the colors of the letter and of the groundwork. Here the 
taste of the painter is called into play, for if the colors are 
not harmonious — no matter how well formed the letters 
may be — the result will not be satisfactory. 

Gold letters on a white ground may be shaded with any 
colors excepting those of a yellow hue — blue, red and 
green being the colors most frequently used. 

Red letters look well shaded with lead color or gray; a 




Fig. 58.— Showing the Method of Shading 
Letters. 



Painted ' 



light green will also be a complementary shade for red, on 
a white ground. Black letters look well shaded with any 
of the primary colors. One thing should ever be taken 
into consideration, the most intense or prominent color 
should be put on the letter, and not the shade. When a 
shade has been put on a letter, and a disagreeable result is 
produced, it may often be improved by adding a fine line 
of white or black (according to the ground) between the 
shade and letter. All gold lettering should be edged— 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 107 

called " the lights' 1 '' — on the opposite edge from the shade, 
or in some cases all around the letter. The cast shadow 
of a letter is in reality the shade, and what is generally 
called the shade is the "thickness" or "blocking." This 
cast shadow is seldom added except on white grounds, 
when a faint lead color or French gray is used. 

The position of lines should receive attention. It will 
not look well to have two circular lines follow one another. 
Curved lines — as the line of beauty — are often thrown in 
to relieve the appearance of sameness. All short or unim- 
portant words, such as " and, ' "deale* in, " " in," "manu- 
facturer of," etc., should be placed alone, or worked into 
a ribbon or scroll, and never attached to the end of a long 
line of greater importance. 

The same style of letter should not be employed in two 
adjacent lines, except it be in the enumeration of a list of 
articles, or several addresses. Letters belonging to differ- 
ent classes or styles should not be used in the same line, 
except it be for ornamental purposes, and then they should 
be used sparingly. 

The tools used by the letterer may be counted upon the 
fingers. The pallette and rest-stick are so well known 
they need no description, and then there are the straight- 
edge, rule, compasses, chalk and a piece of string. The 
pencils should be of black sable-hair, either in quills or 
tin. The hair should be about one inch long. The pencil, 
when dipped in turpentine or paint, should present a fine 
point, and when spread upon the work should assume a 
square or flat end, that corners may be easily formed. 

Camel's hair pencils answer a very good purpose, but are 



108 THE COMPLETE CARRIAGE AND WAGON PAINTER. 



not so good as a well ''broke in" sable. Fine liners may be 
made by cutting the hair from a large pencil and fasten- 
ing it in a small quill. 

The point used for lettering is generally oil-color, that is 
color mixed with just enough oil to render it easy- work- 
ing. Tube colors are not suitable for lettering, as before 
explained in striping. Quick color may be used when a 
job is hurried, but it is apt to show laps and brush marks. 

We present here, in Fig. 59, some illustrations of various 
methods of shading. 





^^^^^P 




Fig. 59.— Showing Various Methods of Shading Letters. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 109 









Fig. 59.— Continued. 



110 THE COMPLETE CARRIAGE AND WAGON PAINTER. 





*wm 



Fig. 59. — Continued, 

The operation of gilding is fully explained in our 
chapter on scrolling, and needs no further allusion here, 
save that the gold is generally laid on directly from the 
book. The painter takes the book in the left hand and 
holding it near the job lifts the paper leaf, then with the 
point of the book pointing downward, rolls the leaf upon 
the size, a very easy method when once the knack is ac- 
quired. 

This brings us to the close of our observations on letter- 
ing. 



CHAPTER Xin. 

WAGON SCROLLING. 

Scrolling is an art acquired by but a few. In all the 
great city of New York those who can design and paint a 
Roman scroll for wagons, cars, etc., may be counted on the 
fingers of one hand. Scrolls in relief, or Roman scrolls, 
require close study, continued practice, and, more than all, 
an aptitude for such work, natural or inborn, and none 
may know whether they possess- this faculty until they 
have tried and tried again, following perchance such direc- 
tions as are here given, or those found in other works of 
the kind. 

The student need not expect to produce at first an 
elaborate piece of work; he must be content to begin with 
the rudiments — as in learning music. A blackboard will be 
found the best for practice, for each line must be drawn 
with a free hand. No means for measuring, other than 
the eye, should be employed, and he must not be dis- 
couraged if he is forced to rub out and try again a hundred 
times in so simple a task as the drawing of a circle. This 
drawing of a circle is in fact the key to the whole art of 
scrolling, for he who can, with a free hand, draw a 
nearly perfect circle, will be able to form any " sweep" 
with comparative ease. We illustrate here, in Fig. 60, the 
first lesson. The line of beauty comes next. This is as shown 
in Fig. 61, simply a curved line, but unless the curve is 



112 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

made with a graceful turn it does not possess much beauty, 
and, therefore, it should receive extended practice, until 
it can be drawn correctly the first time in every case. 
The next in order is the formation of leafing, giving the 




Fig. 60.— The First Lesson in Scrolling. 

appearance of a "bend" or " twist " etc. Arabesque or 
engraved pictures not expressly designed for wagon 
scrolls should not be copied for this work, for they will in- 




Fig. 61.— The Line of Beauty. 

variably be found too fine or too delicately shaded to sup- 
ply the want of a wagon painter. 






THE COMPLETE CARRIAGE AND WAGON PAINTER. 113 

Fig. 62 shows the leafing of a scroll, and the manner of 
shading to give the appearance of a bend or twist, and in 
this lesson the student -will find employment for a long 
period, for he should memorize the form, and every line 
of shade so that without a copy he can make a similar 
pattern. Originality of design is of importance, and it is 




Fig. 62.— Showing the Leafing of a Scroll and manner 
of Shading to give the appearance of a Bend or 
Twist. 

that which gives confidence and a free movement of the 
pencil, for while the copyist pauses to examine the copy 
to know what mark to make, he loses the ease and free- 
dom possessed by the original artist, and a certain crudity 
•characterizes his production. The size and form of the 
panel on which the scroll is to be put at once suggests the 
form of the scroll, and thus a certain amount of originality 
will always be demanded from the scroller. 



114 THE COMPLETE CARRIAGE AND WAGON PAINTER, 




Fig. 63.— .4 Shaded Roman Scroll, 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 115 

The flat outline of a Roman scroll presents no pleasing 
form, it is the shade, as shown in Fig. 63, which gives it 
effect. The shading must be done in an off-hand manner, 
as it is not well to retouch the shading color when once 
applied. Some work done in color may be an exception 
to this rule, but in shading gold a retouch of the shade 
would be plainly seen, and would mar the beauty of the 
work. Asphaltum is used as the shading on gold and 




Fig. 64. — Scroll or Lettering Pencils. 

it "sets" very quickly. To put on a scroll in gold: 
First, lightly sketch the design with chalk upon the 
pounced panel, then, with size as mixed for striping (see 
Striping) using a sable lettering pencil as shown in Fig. 
64, lay on the size, covering the entire surface within 
the outlines. When the gilding size is " tacky," lay the 
gold leaf directly from the book — no waxing, greasing, or 
tip is necessary; lightly rub over with a bunch of soft cot- 
ton. Allow sufficient time for the size to become hard, 
then apply a coat of rubbing varnish over the gold before 
shading. This gives the painter a chance to wipe off a 
shade or misplaced line in shading, and it also prevents the 
asphaltum from striking through or into the gold to give 
a muddy appearance. 



116 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

In shading mix a very little burnt sienna with the 
asphaltum, and thin with brown japan and turpentine, 
then begin on the tip of a leaf, moving the pencil at right 
angles with the centre line of the leaf and in a circular 
manner ; continue thus until the broadest part of the leaf 
is reached, then a few light touches will blend the shade 
off to the gold. Go all over the design in this manner, 
then return to that part first done and apply a second coat 
of shading to those parts requiring to be dark, and some- 
times it is well to add a third coat to very dark spots. 
When the shades are in, the lights (which cannot be shown 
in the engraving) may be added. The lights consist of fine 
white or cream colored lines, put on to show where the 
strongest light strikes the scroll. It will be well for the 
beginner to study the work of some known professional 
and learn where the lights are put, as it is impossible for 
us to show them by engravings, or to explain in words 
their location. 

Heraldic devices, such as spear-heads, quiver and bow, 
lances, or the heads of animals, are frequently thrown in 
to improve the appearance of the design, and we often see 
Scotch-plaid striping used to fill open spaces. But judg- 
ment must be exercised, or a gingerbread style will be the 
result. 

We might add just here a few additional suggestions 
upon designing and laying out scroll patterns, viz. : All 
curves should be made with an easy, graceful sweep, and 
harmony must be carefully attended to; for instance, if 
the design be intended for a centre-piece, circles of the 
largest diameter should form the centre, and a gradual 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 117 

diminution of curves in their various forms be made to ex- 
tend therefrom until the end or apex is reached on either 
side. A corner pattern should have the largest circle in 
the extreme corner. Those who pay particular atten- 
tion to scrolling, wherever seen, will readily comprehend 
the ideas we wish to convey. 

Again, there should be a similarity between the leaves 
of a scroll. It would mar the appearance of the work if 
leaves of various kinds were jumbled together, for, not- 
withstanding variety breaks monotony, the variety in a 
scroll design should be made by the various positions of 
the same kind of leaf. The parts which make up a scroll 
pattern should be connected, or at l^ast touch each other, 
and not appear, as they frequently do, as if flying off into 
space. This is applicable to Roman or relief scrolling more 
particularly, for it is a common custom in flat scrolling 
(our next subject) to make many unconnected parts, and 
in stencding all parts have to be disconnected in order to 
form bars or connecting links to hold the parts of the sten- 
cil together. 

Flat Scrolls next demand attention. These are simi- 
lar to those commonly employed by fresco painters, and 
do not require the study which Roman or relief scrolls 
call for. However, there is a certain amount of skill re- 
quired in order to form pleasing designs. There are three 
ways of putting on flat scrolls, the first and simplest being 
in plain gold, with no shades or lights; the second, in 
various colors, and the third, in colors and gold, but still 
with no shading. Flat scrolls are never shaded, while a 
scroll in relief always has that peculiarity. The striping 



118 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

pencil is often called into requisition in putting on flat 
scrolls, and he who can execute ornamental striping well, 
will be equally proficient in this line of scrolling, as it is 
simply ornamental striping enlarged upon. We present 
here in Figs. 65, 66, 67 and 68 four designs for flat scrolls, 
without further remark, referring the reader for additional 




Fig. 65.— Design for a Flat Scroll. 






THE COMPLETE CARRIAGE AND WAGON PAINTER. 119 




Fig. 66.— Design for a Flat Scroll. 



120 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

comments on this subject to our chapters on Ornamental 
Striping and on Stenciling. Of the latter class of work 




Fig. 67. 




Fig. 68. 
Two Designs for Flat Scrolls. 



many parts of flat scrolls may be made, as our remarks 
under that head will show. 



CHAPTER XIV. 

STENCILING. 

There are many parts of the ornamental work on wagons 
that can be done with stencils, and much of the ornamental 
striping and flat scrolling is put on with them. We show 
in Figs. 69, 70, 71 and 72 the general idea of a stencil. To 
make them proceed as follows : 

Take a sheet of well-calendered writing paper and fold it 
across the centre, then, with the crease thus formed for a 
centre of the design, draw on one side of the fold one-half 
of the pattern with a soft lead pencil, then fold the sheet 
with the marks inside and laying it on a smooth surface 
rub over the penciled portion with any smooth, hard sub- 
stance and the pencil marks will be transferred, making 




Fig. 69.—^. Stencil Design, 



122 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

"ftp 

Fig. 70. 



*4i 




Fig. 71. 






Fig. 72. 
Three Stencil Designs. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 123 

the whole pattern. Next, lay the paper on a piece of glass 
and with a very sharp knife cut out the different parts, be- 
ing particular to leave bars sufficient to hold the parts to- 
gether. 

The brushes best suited for small stencils of this kind may 
be purchased at the paint stores, but in case they are not 
easily procured, take a good-sized camel's hair pencil and 
cut it square across as shown in Fig. 73. The color should 
be mixed very stiff in japan, with but little turpentine 




Fig. 73. — Brush used in Stenciling. 

added, then, dipping the pencil into the paint, rub it out 
well on a board or piece of paste-board to even the color in 
the brush. Then, laying the stencil on the desired place, 
rub the brush over it gently so as not to tear the pattern. 
The fronts of the spokes are frequently ornamented by 
the stencil plan, and in Fig. 72 we show a design for that 
work. Transfer ornaments are extensively used on wagon 
work, and in some cases are far more economical than 
hand-work, particularly on spoke faces, and on beds, bars, 
head-block, etc., of the gears. 



SUPPLEMENT. 



CARRIAGE PAINTING AND VARNISHING. 

[The seven following chapters are from the pen of Mr. C. 
E. Vader, a practical carriage painter of extended experi- 
ence, and originally appeared in the columns of the BLACK- 
SMITH and Wheelwright. The matter has been carefully 
revised by Mr. Vader and will form a valuable supplement 
to Mr. Schriber's experience]: 



CHAPTER I. 

A GOOD FOUNDATION. 

In treating the subject of carriage painting, it is better 
to begin at the foundation, and consider the first coats that 
go on a carriage. Of course, this is an old story, and one 
that has been talked and written about a good deal; but 
there are many painters who do not think it worth while 
to bestow much attention on this portion of their work, 
while I regard it as very important to have the foundation 
coats well laid on. 

In the first place, to make paint stick to wood or iron, it 
must be elastic, so as to form, as it were, a part of the 
article to which it is to be applied; and to be elastic it 
must contain a sufficiency of oil. 

Now, I propose to give you my method of painting car- 
riages and wagons, so that paint will not peel or chip off. 

When a new set of wheels are to be painted, I first mix 
the paint with oil, and then add a little japan, the propor- 
tion of japan being greater with raw than with boiled oil. 
Eaw oil, I may say right here, is always purer than boiled. 
I don't always use lead, as, in my opinion, other pigments 
are just as good, or better. In fact I can never see much 
difference, if you use oil enough to hold it. 

If the wheels or carriage are to be ironed within five 
days, I put in a few drops of turpentine, but this is not 
necessary if thsy are to stand ten days, as in that time they 



128 THE COMPLETE CARRIAGE AND WAGON PAINTEE. 

will be m pretty fair condition to sand-paper. It doesn't make 
so much difference in sand-papering this coat, as wo usually 
take it nearly all off, though this is really not necessary, 
and your job won't be much better for it. In sand-paper- 
ing, you should be careful of the corners of spokes, and ail 
other corners. Don't touch a corner if you can help it, 
and to avoid this, use a very narrow piece of sand-paper 
around small places. 

CHIPPING. 

If the paint is going to chip at all, you will notice it first 
at the corners of the spokes ; and when this occurs, there 
will be nothing to hold the turpentine coats to the bare 
places on the wood, and unless the difficulty is remedied 
on the start, the water will get on the wood and cause it 
to swell. The exposure will start the paint over the ex- 
posed parts, and when, on drying, the spokes shrink, the 
difficulty will be increased. The process of expansion and 
contraction, if repeated a few times, will cause most of the 
paint to peel off, leaving spokes and hub nearly bare. If 
the carriage is much in use, paint so imperfectly applied 
will not last six months. 

THE SECOND COAT. 

The second coat should be looked after not less carefully 
than the first. 

I grind my paint in oil, and afterward put in about two 
tablespoonf uls of good japan (not japan that will curdle) to 
enough paint to go over a gear and wheels. Then I pour 
in a little turpentine and mix it very nearly thin enough 
for working I commence on this coat with the thumb- 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 129 

nail process, i. e., spread a little paint on the thumb nail, 
and blow the breath on it for a moment to hasten its dry- 
ing. If it dries glossy, I add a little more turpentine, so 
that it will dry with little more than an egg-shell gloss. 
When there is plenty of time for drying, say six or eight 
days, I put in all the oil I possibly can, for this coat goes 
on the bare iron usually, and that, as well as wood, needs 
all the oil it can get. With this coat I use a 1£ or 2 inch 
camel's hair brush. 

For the first eight or ten hours, this coat will look pretty 
glossy, the evaporation being very slow, but it will dry 
out nicely in four or five days if the weather is favorable. 
It needs at least four days to dry properly. If the job has 
to be got out in a hurry, I put in more turpentine and less 
oil. I hardly know which looks the worst, a job that is 
full of cracks or one that is badly chipped ; and one or the 
other of these evils is sure to be the result if you don't give 
each coat its proper time to dry. 

As there are more coats to go on the body of a carriage 
than on the gearing, you can easily arrange it so that 
the gear coats will have more time to dry, and this will 
enable you to use more oil, which will make your paint 
tougher and more elastic just where you want it, and, as 
a consequence, not likely to chip. Such a job will, of 
course, please a customer ; and when a customer is 
pleased the builder is also pleased, and it is a source of 
satisfaction to yourself. Nothing is more annoying than 
to have a job turn up in a year or so with the paint crack- 
ing and chipping off, and the customer grumbling about 
poor work. It doesn't help you much in such cases to try 



130 THE COMPLETE CARRIAGE ASD WAGON PAINTER. 

to lay the fault to the paint. He has paid you for good 
paint and good work, and he wants them; and if you wish 
to keep your customer, there is no way out of the diffi- 
culty but to do the job over again. When such things 
occur, you often wish you had never learned anything 
about painting, but had turned your attention to farming 
or almost any other occupation. I have been through all 
this, and know just what it is, and have learned by 
experience how such things can be avoided. I worked at 
the trade with a man who called himself both a house and 
carriage painter, but he knew very little about carriage 
painting. I first turned my attention to carriage painting 
some years ago, when I had nothing else to do. I did not 
succeed very well on the start, and to try and find ways 
to overcome the difficulties I met with, I began to study 
books on painting. The information thus obtained helped 
me greatly. 

PUTTYING. 

While my second coat of paint is drying, say two days 
after being put on, I putty up all open-grained places and 
imperfections on gear and wheels. Putty for this purpose 
I make as f ollows ; 

Two parts keg lead, one part dry lead, one part umber 
(the object of which is to color the putty) or two parts dry 
lead, one part dry whiting, and part keg lead. These I mix 
with japan and varnish, equal parts, with the addition of 
a few drops of oil. The oil binds the putty the same as it 
does paint. Putty should be put on so it will stay, or you 
can't have good work. If in preparing putty for open- 
grained spokes you mix it as many do, with japan and 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 131 

turpentine, it soon becomes chalky and flakes off, taking 
the outside coat of paint with it. 

In putting on putty I always plaster it on smooth, so as 
to avoid the necessity of sand-papering after it is dry. 

SAND-PAPERING. 

When the second coat has stood as long as possible, say 
four days at least, I sand-paper it slightly with No. 2 paper, 
that has been used on other work, and has been worn down 
nicely. This works better than fine new sand-paper, I 
think. The object is to scratch the surface of this coat so 
as to give the one that follows a better chance to take hold 
firmly. 

LAST COAT. 

In mixing the third and last coat of paint, I place the 
pigments in the mill about half an hour before grinding , 
and pour on turpentine and let them stand. When ready, 
I add japan, and run the whole through in a stiff mass, 
screwing the mill pretty tight, so as to grind very fine. 
By allowing the pigments to stand a little while after 
pouring on the turpentine, it soaks into and softens them, 
and the mass can be ground finer. 

After grinding, I add a little raw oil, then thin to the 
proper consistency with turpentine, and go through again 
with the thumb-nail process described in my last, so as to 
get the paint into the condition required to have it dry 
with an egg-shell gloss. 

This coat should be laid on very nice and smooth with a 
hair brush and permitted to dry two or three days. Then 
I moss it off so as to remove all specks, keeping the corners 



132 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

constantly in mind. Curled hair or moss will take a 
corner off in a hurry if you rub too hard. 

READY FOR GROUND COLOR. 

The job is now ready for the ground color, and if it is to 
be black I use lamp black. It covers the best and is a non- 
absorbent. This should also be mixed so as to produce the 
egg-shell gloss, and allow two days for drying. 

The next coat is the color proper. I use the ground 
ivory black, best quality. Take out the required amount 
of black in a clean cup and mix it carefully with a stick. 
The sticks I prepare on purpose for mixing. I think I can 
mix paint better with one of these prepared sticks than 
with a putty knife, as they fit up to the side of the cup and 
mash the colors better. 

Turpentine should be added little by little (not poured all 
in at once) till you have obtained the right consistency. 
Then add raw oil, and test the paint on your thumb nail in 
order to be sure you are going to have the egg-shell gloss 
when dry. 

DRYING DEAD. 

Many painters have an idea that these coats of black 
should contain no oil, so that they may dry dead. I was 
taught to put on color in this way, and supposed it must be 
put on so, but reading up on the subject gave me some new 
ideas. I commenced experimenting and watching not only 
my own work but the work of others, and found a great 
many cases of color chipping off from the last coat of lead. 
I soon discovered the reason of this and will explain it. 
Take some color mixed with turpentine and japan, and lay 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 133 

it on a piece of tin or anything that will spring. Let it dry, 
and then bend the tin or other article a little, and the paint 
will crack in every direction, and in most cases will fly 
nearly all off. Now add some oil, and paint your piece of 
tin and you can scarcely make it crack by bending. The 
oil toughens the paint and imparts elasticity to it. This 
illustration makes it plain why paint not properly mixed 
will peel off a carriage. Very many parts of a carriage 
will spring and vibrate sufficiently to destroy paint that is 
hard and unyielding. 
With this last coat dry, the job is ready for the varnish 



THE VARNISH COATS. 

I take rubbing varnish and add drop black to make the 
varnish black. This keeps the varnish from " greening" 
the paint when the job is done. I take the black from the 
can as it is ground, and do not put any turpentine in to 
thin it. The best way is to grind dry black in varnish. If 
drop black is ground in good Japan, it will mix with var- 
nish and stand better without cracking than if ground in 
poor Japan. Japan or turpentine never works with var- 
nish very well any way. I always use a badger hair brush 
in varnishing, but some prefer bristle and fitch to wipe 
up with. I flow on a medium heavy coat, dress it, and lay 
it on as smoothly as if it were the last or finishing coat. 
This coat should stand at least two days, and three or four 
will be much better, if possible, it will rub so much nicer. 
I rub this a little with pulverized pumice stone and water, 
to remove gloss and specks. These specks should be few 



134 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

and scattering, and they will be if the job is clean and the 
room kept clean. In my estimation, there is more dirt on 
a job when the varnishing is done than gets on afterward. 
If the job is not a very particular one, I simply rub it 
with curled hair. After being rubbed with pumice stone 
it should be washed very clean, and the next coat of clear 
rubbing varnish laid on. This should also be put on very 
nicely and smoothly, and should stand three or four days, 
if possible, before rubbing it with pumice stone and water. 
(I should have said that if -the job has to be striped it 
should be put on over color varnish.) 

THE FINISHING COAT. 

Now we are ready for the finishing coat. I use a good, 
first-class grade of varnish all through, and always of one 
company's make. Then I know how long it takes to dry 
out of the way of dust, and how long before it can be run 
out. 

The job should have a good cleaning and dusting before 
attempting to varnish. This should be laid on quite heavy, 
and dressed so there will be no runs or sags when dry, and 
then our job will be completed. 

A great many might say the method I have attempted to 
describe makes a job too long, and differ with me in the 
time I allow for drying. Of course we cannot give so much 
time for every job, but I am trying to give my plan of lay- 
ing out a job, instead of letting one coat stand three weeks 
and then putting on the five or six coats in a week. 

PAINTING BODIES. 

When the body is received from the body shop it should 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 135 

be well dusted off and a coat of lead or other pigment 
mixed with raw oil and japan (one part japan and three 
parts raw oil) applied to it. Leave the inside two 
or three days. After the body is hung up (as it 
should be before it is rough-stuffed) it should be 
sand-papered down smooth, and a second coat of lead 
laid on, mixed with the pigment ground in oil, and two 
tablespoonfuls of japan added, and thinned with turpen- 
tine. Give this two days to dry, and then apply a coat 
with less oil in it. In twenty-four hours it will be ready 
for the rough-stuff. Nearly every painter has a recipe of 
his own for this paint, but mine is : To three parts filler 
add one part keg lead, two parts of japan, two parts rub- 
bing varnish, the whole run through the mill in a stiff 
mass, and afterwards thinned with turpentine. This 
should be laid on thin, and about six coats altogether, one 
each day, with two days to dry and rub down. 

RUBBING. 

The fine finish of a body depends a great deal on the 
rubbing, and it should be rubbed carefully, and not left to 
an inexperienced hand. After it is rubbed it should stand 
twenty-four hours to dry out, or over night will do if it is 
drying weather or the room is warm. I mix lamp black 
for ground work with raw oil one part, japan two parts, 
run through the mill and thinned with turpentine, and try 
it on the thumb nail to see that it dries with a gloss. 
Paint has to be oily when put over rough-stuff to dry with 
an eggshell gloss, as the rough-stuff soaks up the oil ; and 
you might as well put more oil in this coat and give it 



136 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

more time to dry as to give it a coat of oil lead before you 
put on the lamp black, I think. At least, I like to see it 
dry with a little gloss, as it holds out the varnish coats 
better. I let this dry two days, and apply a coat of drop 
black mixed so as to dry with a subdued gloss. Give this 
twelve or eighteen hours to dry, and put on a coat of color 
varnish. (I prefer black varnish to color varnish.) Give 
this two days, then rub lightly with pumice stone ; stripe 
and ornament, and apply a coat of clear rubbing. Give 
this three days to dry. 

This varnish does not need so much rubbing as some sup- 
pose. If it is put on level it will not need much rubbing 
to make a nice finish. Unless this is a very nice job I only 
put on two coats of rubbing, or three in all. After this is 
rubbed I apply the finishing coat immediately, and the job 
is done. 



CHAPTER II. 

DUSTING AND CLEANING WORK. 

Before Applying Paint' or Varnish— There is perhaps noth- 
ing more annoying to the carriage painter than to turn out 
a vehicle, having its beautiful surface covered with specks 
or dirt. He takes great care with all his work up to the 
varnish coats. Then comes the time when dust will show 
itself. After the job is done, and set up, the painter will 
see at a glance how much dirt or dust there is imbedded 
in the varnish, and will say to himself (sometimes aloud to 
others): 

" I don't see where that dirt came from ? I had a clean 
cup, and my brush was clean, and my clothes I dusted off 
as well as the job. There must have been some one in the 
room after I left, but I locked the door and had the key in 
my pocket. Perhaps there was dirt in the varnish." And 
he will fidget and wonder where the dirt came from, and 
will perhaps think of all these things. But he doesn't think 
enough ; he doesn't think deep enough. He lets it pass this 
time as the mischief is done, and he has not time to let it 
stand ten days to rub down and apply another coat. Prob- 
ably next time it will come out better. 

Now you painters who have trouble with dirt let us talk 
this matter over, and see if we can't find out where the 
trouble lays. Go back to the first coat of black that is to 



138 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

go on a body. The job has stood twenty-four hours after 
being rubbed out of rough stuff. The surface is all grit, 
you can tell that by rubbing yoiir haud over it. You take 
a common duster and go over it, and perhaps think it is 
clean. Pass your hand over it again, and, if you watch 
close, you will feel a fine grit. Now if you should put a 
coat of paint over this as it is, while you were apply- 
ing the paint you would see hundreds of little fine 
specks. The more you brushed and worked the paint 
on the panels, the more these specks would show. These 
minute particles are rolled over and over in the paint, and 
every time they are rolled over they grow larger, and what 
could hardly be seen with the naked eye at first, will seem 
quite large when your paint is applied. Now, before ap- 
plying your paint, you should take a very fine piece of 
sand-paper and rub the surface slightly, and dust off with a 
common duster. Then take a piece of curled hair (not moss), 
and dampen it in varnish (oil will do); squeeze it out so 
that no varnish will rub off, and rub this over your work 
slightly. Next take a bristle duster, put a little varnish in 
the palm of your hand, and rub the ends of the bristles in 
the varnish, so it will adhere. Rub this duster over the 
work and the dirt or grit will adhere to it, and be all taken 
up by it. Now your work is in a condition to apply the 
paint. If the paint is the least bit specky, or has any pieces 
of skin on top, it should be strained through a piece of 
book-muslin into a clean cup and applied with a clean 
brush. One more important thing is to get the job where 
the dust will not be settling on it when it is drying. 
The next coat should be gone through with almost in 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 139 

the same way. At least, be sure there is no dirt on the 
job when you apply the paint. 

When the first coat of varnish is rubbed with pumice 
stone it is very difficult to get it all out of corners of 
moldings and such places. It should be washed out, and 
water run into these places freely, and with a sash-tool 
clean out all the stone you can, and wipe dry. When the 
job has stood ten minutes, look around the corners and 
you will discover enough stone to spoil four or five jobs. I 
have seen painters take the " shammy" and run one corner 
of it into these places, and of course it would dampen the 
stone, and give the work the appearance of being clean, 
when perhaps hardly a particle of stone had been removed. 
They would then dust off with a common duster, without 
seeming to think about or look after the places any more, 
and immediately apply the varnish. Of course, the first 
time the brush went in one of these corners it would take 
out some of the powdered stone, and in brushing the 
varnish they would scatter these fine particles in all direc- 
tions, and when rolled in varnish several times over, they 
will look five times as large as they really are. The job 
would have very much the appearance of having been 
sprinkled with fine pepper. 

PUTTING UP JOINTS. 

When you have a job that has open joints, such as where 
the seat is screwed to the body, these joints should be 
puttied up so they will be smooth. On iron seats, around 
handles, there are many open places. If these are puttied 
up they will clean very easy. When the job has stood a 



140 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

few moments after rubbing, take a common duster and 
dust all over — not rubbing too hard ; now go over again in 
the same way. If you have a magnifying glass, look over 
the work and see if you discover any dirt. In nine cases 
out of ten it will look as if it had not been dusted. Now, in 
most cases, right here is the dirt that makes your job look 
bad when finished. Nearly always a job is as dirty when 
you get done varnishing as it is when dry. 

Of course, there are cases where a job is got out clean, 
and dust gets on it while drying, from the wind shaking 
the shop, or something of this kind. Most country shops 
are affected by wind, and, unless the room is very tight, 
dust will sift out. One thing is certain, if the job is not 
clean, it is impossible to get a clean finish. After your job 
has been dusted with a common duster, take another 
duster, and put a little varnish in your hand, rub the 
points of the duster with it, and go over the work with 
this, being particular about the corners and moldings. 
Then have a 2i-inch flat bristle brush, that has never been 
in paint, and rub varnish on the points of this, and you 
can clean your job perfectly. Keep this brush close by 
you, and rub it over a panel just before the varnish. Of 
course it requires three times as long to dust and get a job 
clean as it does to lay on the varnish. 

CLEANING GEARS. 

In cleaning gears considerable pains should be taken, 
although dust will not show as much as on bodies or large 
surfaces. A. flat bristle brush should be used after the 
duster, the same as on bodies ; and be particular to go 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 141 

around clips and ends of the springs. Kun the bristles into 
every little place. One important thing, in my estimation, 
is to start from a certain place, and go from one clip to 
another. Commence at one end of a spring and go to the 
other, and so on around, and then you will know when 
you get through, and that every spot has been touched. 
System is as important in carriage painting as in any other 
line of business. 



CHAPTER III. 

PAINTING LUMBER WAGONS. 

The woodwork should be primed before it is ironed. 
When this has been done give the wagon a slight sanding 
with No. 2 sand-paper. Clean the grease and coal cinders 
off the iron jDarts. Mix lead and Indian red, employing 
two parts of lead and one part of Indian red. Thin up 
with turpentine and put in about two tablespoonfuls of 
Japan and as much oil in a quantity sufficient for a 
wagon. Apply this quite heavy, touching every part 
using a good bristle brush. It is seldom that lumber 
wagons receive two coats before the color ,is applied. It 
makes more durable work, however, to put on two coats 
of the paint just described. Next take American vermil- 
ion, deep shade, and mix it with Japan and oil, using 
equal parts, to a stiff mush. Thin this with turpentine. 
Take one part whiting in bulk to two parts of vermilion. 
Mix the whiting to a stiff mush with oil and run through 
the mill. Thin up and mix with the vermilion. This is 
an important matter and should not be left out, as the 
whiting makes vermilion work like other paint. Ver- 
milion being very heavy, it settles rapidly and settles after 
being put on, as well as before, and thereby makes the 
work look spotted. It will be a hard task for one not 
used to putting on this paint to make one coat cover 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 143 

satisfactorily. It requires to be worked very fast and 
even. The paint must be kept even in thickness. 

STRIPING. 

The day succeeding the operations just described the 
work will be ready to stripe. The colors for this should be 
black and white, or instead of the latter, light yellow. 
White makes the red show off to the best advantage. 
Take lamp black and mix with japan and oil in equal 
parts. Thin up with turpentine. Silver or flake white in 
tubes is best for the white, using turpentine as a dipper. 
This stripe will dry over night. 

A GOOD COLOR. 

Straw or buff is a popular color for wagons. It is easily 
worked and is a good paint to wear. It may be made 
of lead and ochre and shaded to suit. Three coats make a 
satisfactory job. Wagon boxes should be primed with 
lead and a little lamp black before being ironed ; then 
given a good sand-papering with No. 2 sand-paper. Then 
apply another coat of lead color. The best color for boxes 
is brown. Green has been used to a considerable extent, 
but it does not make a wagon as attractive as a rich 
brown. 

Venetian red and lamp black make a good brown. In- 
dian red and lamp black constitute a little richer shade. 
If the very best shade is wanted use drop black and Indian 
red. Yellow of different shades and English vermilion 
make the most showy stripes for such boxes. Blue and 
green are also attractive. 



144 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
READY TO VARNISH. 

At this stage the whole wagon is ready for the varnish 
which should be a good article of coach varnish. BlacK, 
sticky stuff should not be employed. As heavy a coat as 
possible should be put on, care being taken to wipe out 
thoroughly around the bolt heads and around the irons, 
Lay the boards flat down and lay on the varnish heavy 
and lay off cross-wise of boards, then set them off on horses 
flat down. Left in this position the varnish will not 
run. By so doing a heavier coat can be applied than oth- 
erwise. The inside of the boxes should be painted with 
Venetian red and oil, one or two coats. 



CHAPTER IV. 

TOUCHING UP REPAIR WORK. 

Blacksmiths and woodworkers have occasion quite often 
to touch up their repair work with paint, when there is 
not time for the job to be finished in the paint shop. Some 
men have paint dishes in the shop to use themselves as 
may be necessary, while in other shops the painters attend 
to these things. Very often this takes a painter away 
from something he can't leave very well, while some of 
the other hands could have done it while he was coming 
down stairs. But blacksmiths and woodworkers generally 
daub up and do more damage than good in their attempts 
at painting. We have a spoke or two that must be used 
immediately; if it is black we generally put on black var- 
nish, but paint, dark lead or something heavy would be 
much better. Black varnish will come off gradually and 
won't keep the grain from raising; of course, it has a little 
shine, but you can't get one coat on very well without 
making it look streaked. So, take it on the whole, it doesn't 
look very well and it is in no shape to paint up again. 

But whatever is put on should be applied properly; if 
you have a large brush and the paint or varnish is 
old and sticky and you daub all over, it looks bad, 
besides making lots of work for the painter when the 
job comes to be painted. You can't get this stuff off, 
even a spot of it when it gets dry without the use of a 



146 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

sharp knife, and you can hardly ever succeed in pre- 
venting a spot that will show always. The paint should 
be mixed with oil, japan and turpentine in equal parts, 
or keg lead and lamp black mixed with japan and 
turpentine. It should be mixed up once a week, so as to 
be fresh, and dry quickly and well. Have an inch and a 
half bristle brush, not an old stick of a thing, but a good 
brush, and keep it soft in the paint or water. A spoke is 
about the worst thing to get around without touching the 
hub or other spokes, but take a brush half full of paint and 
put down as near the hub as possible, and then tip up the 
brush a little and work crosswise of the spoke and you 
will touch all bare wood without getting on the old paint. 
If you should, why wipe it off with a rag or finger. Go 
around the butt of the spoke in this way, then at the fel- 
loe to the same, cutting close, and then fill in between hub 
and felloe and smooth up nicely. This will, perhaps, take 
a moment longer on a spoke, but it will be enough better 
to pay. 

When a smith heats an iron that has been painted, and 
doesn't heat the whole of it, the paint will fry up black a 
little ways and cinders will stick. These should be filed 
or sand-papered off and dusted or rubbed off with the hand 
before the paint is applied. If you will only take a little 
pains and work slow around these places at first you will 
soon get so you can do it about as quick as if you were 
merely daubing. One should take as much pains in 
patching up a job as he would in making a new article, 
but there are not many who do. When taking off clips on 
irons on a painted job the paint is liable to break up away 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 147 

from the clip. Now if you will take a knife with a sharp 
point and cut around the clip it will come and go right 
back, and will not need to be touched up. When ham- 
mering or pounding on a painted iron or surface, take a 
piece of harness leather and hold it under the hammer; re- 
member that an ounce of prevention is worth a pound of 
cure. 



CHAPTER V. 

HOW TO PAINT A CHEAP JOB. 

Sometimes we want to paint a job cheap, or not lay out 
much work on it. Sometimes blacksmiths or wagon- 
makers want to do a job themselves, and are at a loss to 
know just how to go to work at it. I will give my way 
of doing such work. 

PAINTING AN EXPRESS WAGON. 

Let us suppose that we are going to paint an express 
wagon or a spring wagon of any kind. All wood work 
should be primed with keg lead or any pigment ground in 
oil. Venetian red, Indian red, umber, or any of these dry 
paints, will do. After taking out a little in a cup (enough 
to make a pint when mixed) put in about two tablespoon- 
fuls of japan and stir with a stick rounded at the end or 
made oval to fit the side of the cup. Stir this until all the 
lumps disappear; then add about as much turpentine as 
japan, thin with oil and try on wood. Raw oil will be 
best, as it dries quickest, and holds better. It should be 
thinned until it will streak on the wood with the brush. 
It should not cover thoroughly. Above all, do not use old 
paint that has stood around in dishes and become fatty. 
Such paint should be used only on the inside of boxes or 
bottoms. After the wagon is ironed, sand-paper with No. 
2 sand-paper. That which has been used by the wood- 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 149 

worker is best. It need not be rubbed too much ; just 
enough to smooth nicely. The body will need more 
sand-papering if it is not rough stuffed. Sand-paper 
down so the first coat will be nearly off, as this fills 
the grain up. 

THE GEAR COAT. 

The next coat, for gear, I would mix in this wise: Take 
out lead enough for a pint of paint, or the dish nearly a 
third full. Put in two tablespoonfuls of best japan and stir 
well. Then add the same quantity of raw oil and stir 
again. Thin with turpentine. It should not have much, as 
in sanding many places are left bare, and it should be elas- 
tic so it will stick well. This should be applied with an 
inch and a half camel's hair brush. It can be done with a 
bristle brush, but a camel's hair costs no more, and the 
paint can be spread more evenly, and it will go farther and 
can be thinned more. It should be made as thin as possible 
and cover good. 

PAINT FOR BODY. 

The paint for the body will need no oil, as there is enough 
in keg lead to bind it. The body will not receive so many 
jars as the gearing. About the same amount of japan 
should be put in and thinned with turpentine. All screw 
and nail holes should be puttied a day or two before you 
are to paint, or it can be done the next day after the prim- 
ing is put on. The putty make with dry lead, whiting and 
Venetian red or umber, equal parts, mixed with japan and 
varnish and a little turpentine. A better finish can be ob- 
tained by plastering the body all over with this putty, 
made thin. It can be put on with an old plane iron if you 



150 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

have no plaster knife. This paint should be applied with a 
camel's hair brush if possible. 

It can be put on with the one you paint gears with, but 
a two-inch brush would he much better and enable you to 
work faster. If the body is plastered, this coat should be 
put over the putty coat after being sand-papered. Now it 
is all ready for the ground, when it is well dried. If some 
colors are used on the gear, like Indian red, or light brown 
made with Indian red and lampblack, Portland umber 
and the like, there will be no particular necessity for hav- 
ing a ground, as these are very strong and will cover solid 
over almost any priming coats. But it is a good plan 
to govern the priming according to the color the 
gear is to be painted. Portland umber, or stone color, can 
be made of ochre and umber, toned to suit the taste, or 
ochre, Venetian red and black. These should be ground in 
japan and oil, equal parts. They can be obtained already 
ground in oil ; then japan should be added, thin with tur- 
pentine, and apply with the brush used in first coats, pro- 
vided you have but one camel's hair brush ; wash in tur- 
pentine and rub well into the color. 

PAINTING THE BODY. 

The body will look best painted a dark brown, made of 
Indian red and drop black. A man accustomed to laying 
paint would make one coat over, but an inexperienced 
hand would do best to put on two coats, one in the morn- 
ing and one at night ; or, if there is plenty of time, give a 
day to each coat. This will only need a little oil to bind 
it. The body will need two coats of varnish, the first put 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 151 

on after the color is dry. It can be striped and orna- 
mented the next day. 

The gear will do with one coat of varnish, so it should 
be striped over the color, and will now be ready for the 
finishing coat of varnish, which should be laid on quite 
heavy. It should be varnished with a pretty good var- 
nish. Coach varnish will hardly do, as it does not wear 
long enough and cracks quickly. Good, reliable varnish 
can be obtained at almost any hardware store. It will 
cost a little more than common varnish, but is cheaper in 
the end. 



CHAPTER VI. 

HOW TO REVARNISH A CARRIAGE. 

After the carriage has been well washed from dirt, 
unhang the body and give it another thorough washing. 
Let the body dry for twenty-four hours. Give the gear a 
thorough washing, and rub it down with ground pumice 
stone. By this means all grease and specks, which would 
otherwise remain, will be removed. This treatment of the 
gear is a very particular job. The rubbing should be care- 
fully watched. After a wheel or part of the gear has been 
rubbed, it should be washed, in order that the pumice 
stone may not adhere to it. The pumice stone should 
never be allowed to dry upon the work. Give all the parts 
a good washing, and clean well in the corners with a sash 
tool. "Wipe dry with a chamois skin. After all the parts 
have been thus gone over, set aside twenty-four hours to 
dry. I think it a good plan at the outset, if there is no 
mud on the carriage, to dust off and apply paint to the 
bare places before washing. This will prevent the 
moisture penetrating the wood to a great extent during the 
washing. 

All bare places should be painted with lead, or some 
other heavy paint. They require two or three coats, in 
order to bring them up to a good surface. At least one 
coat will be necessary on small bare places. Otherwise the 
color will not stick. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 153 

After the lead is dry the touching begins. This is no 
easy job, and accordingly it should not be left to an inex- 
perienced person. If the job is not black, the first thing 
necessary to be done is to match the color. This is some- 
times quite a trying task. In some instances it is found 
impossible to match the color exactly. This is frequently 
the case where such colors as lake, red, or blue have been 
used, and have faded while in use. In such cases there is 
no better way to do than to come as near as possible to the 
color and let it go at that. A job originally painted black 
will turn green after a year or more exposure, or at least 
will manifest a greenish hue. In such cases the touches 
should be as small as possible, so that they will not be too 
prominent when the job is finished. 

In touching up the body, if there are moldings or beads, 
they should be gone around with a small brush of color to 
set the dirt in places where it is hard to get out. A body 
in most places requires two coats of varnish, for the reason 
that it is almost impossible to varnish a body over once 
without the dirt coming out in the varnish. Whatever 
care may be taken in the preliminary cleaning there will 
always be this trouble to meet. In two-coat work the 
first coat may be rubbed down with stone, and by this 
means the dirt rubbed away. Upon this foundation there 
will be no difficulty in finishing, if the final coat is put on 
nicely. 

There is something about touching up and re-varnishing 
a carriage from which every painter shrinks. He dislikes 
to engage in such work, for it is practically impossible to 
make it look as good as new. Frequently the owner is 



154 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

not satisfied, believing it might have been done better. 
Unless a carriage is in very good condition and not 
much faded it should be repainted, even if but one coat 
of color varnish is applied, and one coat of varnish to 
finish. 



CHAPTER VII. 
[The matter forming this chapter was written by Mr. 
Petersen, and originally appeared in the French journal 
Le Peintre en VoiUire.] 

FORMS AND COLORS IN THE PAINTING OF VEHICLES. 

A correct appreciation of the relations which exist be- 
tween form and color is a qualification much needed by a 
painter of vehicles. 

He should clearly understand that color must invariably 
be subordinate to form. There are some forms which will 
fail to display all the beauty inherent in them unless they 
have the accompaniment of brilliant coloring. The angular 
or regular forms are examples of this law. 

Then there are other forms which appear best in faint or 
subdued colors. 

The only regular form which is found in the human body 
is the circle of the eye, and that is the only part to which 
nature ever imparts a brilliant color. 

The savage with his body painted red, yellow or blue is 
hideous, but the wing of the butterfly, the plumage of the 
humming bird are beautiful. 

Even among the flowers, those possessing regular forms 
are always the most brilliant colored, and as the forms 
depart from regularity so the colors become delicate or 
subdued. 



156 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
BRIGHT COLORS FOR BUGGIES AND DOG-CARTS. 

The buggy and dog-cart appear best when painted in 
bright colors, but cabriolets and mail coaches require dark 
or subdued colors. The two first named vehicles are com- 
posed of straight lines and regular forms but the two last, 
though differing from one another in many respects, are 
alike in being made in semicircles and curves of various 
forms. 

"We have often seen dog-carts and buggies w^hich dis- 
pleased the eye, simply because their bodies were painted in 
colors too subdued, while others were agreeable to the 
sight, because their bright coloring was in harmony with 
their regular f onus. 

It would therefore be well for painters of vehicles to re- 
member that straight lines demand brilliant coloring, while 
curves, etc., are most effective in subdued or delicate colors 

ONE COLOR FOR WOOD AND ANOTHER FOR IRON. 

When more colors than one are employed in painting a 
vehicle, it is usual to make the body of one color and the 
wheels of another, and this is not a bad method. The dis- 
tinction made between the parts mentioned seems a natural 
one, and the difference in their colors generally gives the 
vehicle a light and handsome appearance. 

But this is not the only way in which the painting of a 
vehicle may be varied. At one time there could often be 
seen carriages in which the wooden parts were all of the 
same color, as for instance yellow, while the iron portions 
were all of another color — perhaps black. 

Thus painted these carriages look well, for although the 



m THE COMPLETE CARRIAGE AND WAGON PAINTER. 157 

difference between the wood and the iron is not so appar- 
ent as that between the body and wheels of a vehicle, still 
it is a point which should be always remembered by the 
painter. 

Some American carriages are so painted as to make the 
metallic axles of the same color as the wooden spokes of 
the wheels. 

It is to be presumed that in working in this fashion the 
painter's object is to make two different materials appear 
to be one and the same. But such dissimulation is in bad 
taste. Good taste is always true and straightforward, 
hiding nothing and counterfeiting nothing, making every 
material appear at its best, but never attempting to bring 
one substance into an apparent resemblance to something 
very different. 

It has been argued that painting the wooden and iron 
parts of the same color gives a lighter appearance to the 
vehicle. But unfortunately it does this and more ; it 
makes the vehicle seem too light. Every one knows that 
the strain on an axle is very much greater than that which 
a spoke has to sustain, and yet the former is not much 
larger than the latter. Consequently the spoke appears 
too large or the axle too small. But when the axle is 
painted of a different shade from the spoke, the fact that 
the one is wood and the other iron, and therefore equal to 
its task, is at once apparent. 

Now it is a fact that when some of these American 
carriages are seen in the streets they seem to an inexperi- 
enced observer to be too weak for actual use. A carriage 



158 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

maker does not make this mistake, because he instinctively 
recognizes the difference in the materials employed. 

For these reasons, we think that under all circumstances 
the metallic parts of a vehicle should be painted of a 
different color from that employed on the wood. 

CRITICISM ON THE ABOVE BY A CORRESPONDENT OP '* LE 
PEINTRE EN VOITURE "— ALL PARTS OF A CARRIAGE 
SHOULD BE OF SAME COLOR. 

In my opinion no painter should seek to indicate by 
colors the difference in the materials of a vehicle. I be- 
lieve that an appearance of strength and solidity can be 
best attained by using the same color for all parts, and 
thereby avoiding a too prominent exhibition of joints, bolts, 
etc. 

I think that another result of making the body one color 
and the carriage part another is the loss of harmony, and 
without harmony there can be but little beauty. I do not 
assert that there are no such things as agreeable contrasts, 
but there are also contrasts which do not please all eyes ; 
and when the painter deviates from harmony, even in a 
small degree, he is liable to produce effects more odd than 
beautiful. 

I contend that when the carriage part is painted of a 
brighter color than the body the vehicle may appear gay, 
but certainly not elegant. Take, for instance, a type of 
carriage to be seen every day. Its proportions are good ; the 
body is painted brown and the panels are encircled by a 
fine line of gold. The carriage part is light brown, set off 
by a large black band which has two white lines in its 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 159 

centre ; the naves, spokes and moldings of the wood are 
decorated in gold. What ridiculous taste is here dis- 
played ! Now behold another vehicle ; the panels and 
carriage part are of a rich shade of green, set off by large 
black bands bordered by a narrow straw-colored line, thus 
forming a partial contrast. The ensemble is green and 
black, lightened by a line of yellow as a contrast. Thus 
painted the general effect is decidedly pleasing, but if the 
yellow line is removed and one of bright green substituted, 
the result is harmony, and consequently elegance. If, on 
the contrary, a red line is employed instead of the green, 
the effect is ridiculous. 

Another happy contrast can be produced by using black 
for the ground color, and setting it off with blue glace, or 
the body might be in brown glace and the carriage part 
in brilliant carmine set off by a black band. There is a 
strong contrast between the brown and the carmine, and 
yet the two colors harmonize, because they both approach 
the red. 

Let us now consider a combination which shall be 
thoroughly harmonious, for instance a body in brown 
glace, with the moldings set off by a narrow line of car- 
mine, the carriage part to be painted Jike the body, and 
with a black band, on each side of which (but not very 
close) is a narrow line of carmine. 

Yet to return to your remarks in the last number, in 
spite of the incontestably elegant appearance of this car- 
riage, the method of painting adopted would tend to make 
it appear as if all the parts were composed of the same 
material. 



160 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

But it seems to me that to paint the wooden parts in 
one color and the iron in another would be a very poor 
method of obtaining an appearance of strength. A spec- 
tator not acquainted with the construction of carriages, 
so far from being impressed by the apparent solidity of 
such a vehicle, would be more likely to conceive just the 
opposite opinion. I should certainly consider my life 
safer in a carriage that looked firm and compact than one 
in which every joint was made prominent by its color. I 
do not care to have my carriage appear as if it could 
be taken apart off-hand and carried around like a fishing 
rod. 

In conclusion let me say that an observer so ignorant as 
to suppose that a vehicle lacks strength, because it appears 
light, should be advised to seek instruction on the subject, 
and if he refuses to do so we can only say to him " Au 
revoir," for science should make compromise with an 
ignoramus. F. J. G. 

REJOINDER BY MR. PETERSEN. 
THE HARMONY OP ANALOGY. 

My remarks on the subject of the painting of the 
wooden and iron parts of vehicles have drawn from F. J. 
G. a criticism which I will now proceed to answer. 

The first comment I have to make is that his taste evi- 
dently differs from mine. He prefers a combination of 
colors which I would term the harmony of analogy, and 
which consists in a decided color for the bottom, relieved 
by slight but not marked variations from this tint and 
sometimes by the occasional use of a neutral color, black 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 161 

or white. This method of painting is now much in vogue 
and produces an elegant effect when the painter who 
adopts it possesses the necessary taste and skill, and it is 
especially well suited for carriages in which curves and 
irregular forms predominate, because the grace of such 
hues and curves render a richer and more marked style of 
painting useless if not superfluous. But if the painter 
who follows this method lacks discrimination in the choice 
of his colors or ability in applying them, the result is a dis- 
agreeable faintness and indistinctness. Moreover, no 
skill or taste in the application can make this style of 
painting successful on carriages characterized by straight 
or angular forms ; for in such cases bright, decided colors 
are indispensable. 

THE HARMONY OF CONTRASTS. 

F. J. G. appears to suppose that the harmony of anal- 
ogy is the only one which exists in colors. He is mistaken. 
It is the first, simplest and most natural manner of vary- 
ing painting, but it is not the only one. The harmony of 
contrasts is employed in accordance with the laws of col- 
ors is a higher, richer and more artistic method of orna- 
mentation. Of course the successful employment of the 
harmony of contrasts demands a careful, skillful considera- 
tion of tones and proportions, and when these points are 
neglected the results are not satisfactory. Still we fail to 
see why colors that are too brilliant or decided are worse 
than a combination of faint, insignificant tints. 



CHAPTER VIII. 

TRANSFER ORNAMENTS. 

Transfers or "Decalcomanie," as it is sometimes called, 
are so well known that they require but a passing word. 
Some beautiful designs have of late come to our notice, 
and it is indeed surprising how the art has grown within 
the past few years. We can now procure a beautiful scroll 
and landscape for the sides of an omnibus or wagon, the 
whole figure (consisting of an oval centre and six parts of 
scroll, which can be put either in a straight line, or com- 
bined to fit any curve, 14 inches wide and 92 inches in 
length), costing only $7.50. Scrolls 18 or 20 inches, in gold 
and colors, are now no rarity, and when well applied to a 
job give elegance for a trifling expense. We speak more 
particularly of the large transfers, and advise their use 
where such designs cannot be readily drawn, because they 
are not so likely to be known as transfers, owing to their size 
and beautiful workmanship. They are indeed very differ- 
ent from the carriage ornaments such as every little 
schoolboy had at one time stuck on everything, both in 
school and at home. 

A transfer ornament may be so changed in appearance 
that it would never be known as such, by a few touches 
of the pencil, the slight addition occupying but little time. 

HOME-MADE TRANSFERS. 

It frequently occurs that a carriage owner desires a very 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 163 

elaborate coat-of-arms on his carriage panel, and yet can- 
not spare the carriage long enough for the artist to do the 
work, Now to get over this trouble: 

Procure a sheet of gummed paper (similar to a postage 
stamp), and upon the gummed surface paint the design in 
the same manner and with the same colors as would be 
used on the carriage panel. Let it dry ; then slightly wet- 
ting or dampening another piece of the gummed paper, 
lay the painted design face down upon it and press it be- 
tween the leaves of a book until dry. Next, dampen the 
back of the paper on which the design was painted, and 
when soft enough remove it, in the same manner as when 
using an ordinary transfer. This leaves the painted design 
face downward upon the gummed paper similar to any 
other transfer. 

When the home-made transfers are thus completed, send 
for the carriage and transfer the design to the panels by 
varnishing the back with transfer varnish, or a little rub- 
bing varnish. Dampen and remove the paper as usual, 
and you will find the design as nicely depicted on the 
panel as if it were a purchased decalcomanie, and the time 
taken to do such work would be nothing, compared to the 
painting done on the carriage itself. 

This plan of operations might be utilized by the painter 
for other work. He might take home some little job of 
this kind, and make money in spare moments. 



MONOGRAMS. 



We present in the following pages some specimens of 
monograms of various styles and sizes. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 187 





Florentine, 



168 THE COMPLETE CARRIAGE AND WAGON PAINTER. 





JW 



KR 




JT 





J.N 



KP 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 169 




K.G, 





EO 



170 THE COMPLETE CARRIAGE AND WAGON PAINTER. 




Modern. 




Louis XV. 






INDEX. 



Paob. 

Benches and Boxes for Colors 17 

Blacking off Ribs 63 

Brushes, Badger Hair 15 

Brushes, " Bridling" 13, 14 

Brushes, Cleaning up 16 

Brushes, Flat Bristle 16 

Brushes for Painting 13 to 16 

Brushes, Oval 15, 16 

Brushes used in a Cheap Job 149, 150 

Brushes used in Varnishing 42 

Brush, Camel's Hair 14,15 

Carmine, Cheap Substitutes for 49 

Chipping 128 

Chipping from Last Coat 132, 133 

Color, Bismarck Brown 23 

Color, Bottle Green 21 

Color, Brick 23 

Color, Bronze Green 23 

Color, Brown 22 

Color, Canary • • 21 

Color, Carnation Red 23 

Color, Chamomile 23 

Color, Chestnut.... 22 

Color, Chocolate 23 

Color, Citron 22 

Color, Claret 22 

Color, Clay Drab 23 

Color, Coffee 22 

Color, Cream 22 

Color, Dark Milori Green 23 

Color, Dark Rich Brown 24 

Color, Deep Buff 21 

Color, Dove .-. 22 

Color, Drab 22 

Color, Fawn 22 

Color,Flesh ►. 22 

Color, French Gray 21 



172 INDEX. 

Page. 

Color, French Red 23 

Color, Gold 21 

Color, Grass Green 23 

Colors, Grinding 25, 26 

Color, Japan Brown * 24 

Color, Jonquil Yellow 23 

Color, Le Cuir or Leather 24 

Color, Lemon 22 

Color, Light Buff * 21 

Color, Light Gray 22 

Color, Lilac 22 

Color, London Smoke 22 

Color, Maroon . 22 

Color, Medium Gray 21 

Colors, Mixing 19 to 26 

Color, Oak 21 

Color, Olive 21 

Color, Olive Brown 23 

Color, Peach Blossom 23 

Color, Pea Green 22 

Color, Pearl 2 1 

Color, Plum 23 

Color, Portland Stone 23 

Color, Primrose Yellow 24 

Color, Purple 22 

Color, Ready mixed 17, 18 

Color, Rose 21 

Color, Salmon 21 

Color, Snuff 21 

Color, Stone 22 

Color.Straw ' 22 

Color, Tan 22 

Color, Tea Green 24 

Color, Violet 22 

Color, Willow Green 22 

Color, Willow Leaf Green 24 

Color, Wine 22 

Color, Yellow Lake 23 

Color and Form in Vehicles 155 to 159 

Colors (Bright) for Straight Line Vehicles 156 

Colors Elegantly Combined in a Vehicle, An Illustration of 159 

Colors Employed onWagons 68, 69 

Colors for Buggies and Dog Carts 156 

Colors for Cabriolets and Mail Coaches 156 



INDEX. 173 

Page. 

Colors for Lumber Wagon Boxes 143 

Colors for Striping 55 

Color for Wood Should Not be the Same as for Iron 156 

Colors (Subdued) for Vehicles made in Curved Lines 156 

Color Subordinate to Form 155 

Colors Suitable for First Coat, on a Business Wagon Body. . . 34, 35, 36, 

Colors, to Match, in Re-varnishing 153 

Colors used for Business Wagon Gears 36 

Colors used for the Second Coat on a Business Wagon Body 36 

Colors used for Striping Lumber Wagons 143 

Colors used in Wagon Painting 17, 18 

Colors used on Delivery Wagons .. 68, 69 

Colors used on Bibbed Body Business Wagons 68 

Drying, Dead 132, 133 

Dusting and Cleaning Work 137, 138, 139, 140, 141 

Dutch Metal 67 

Edging Gold Letters 107 

Ellip-e, How to Make .' 101 to 103 

Ellipse, Use of, in Making Round Letters 97 

Figures, Balancing Properly . - . 103 

Finish for End of Panel Stripe 62, 63 

Foundation in Carriage Painting 127, 128 

Furniture of Paint Rooms 12, 13 

Furniture of Varnish Rooms 12, 13 

Gear Coat for a Cheap Job 149 

Gears for Business Wagons, To Paint 35, 36, 37 

Gears, To Clean - 140,141 

Gilding Machine 66 

Gilding Size 64 

Glazing 24, 25 

Glazing Name Panels. 37 

Glazing with Carmine * 49 

Gold Bronze, Applying, to Wagons 67 

Gold Leaf , Applying 64,65, 66 

Gold Paint 67 

Gold Size 64 

Gold Striping 64 

Good Taste in Painting a Vehicle, An instance of 159 

Ground Coat for a Business Wagon 34, 35 

Ground Color for a Carriage 132 

Hand, Position of in Striping 53 

Colors (Harrison's Combination) in a Vehicle, An Example of 159 

Harmony in Painting Vehicles Lost by Making the Bodies one Color 
and Carriage Part Another . • 158 



174 INDEX. 

Page. 

Harmony of Analogy, The 161 

Harmony of Contrasts in Painting = . . 161 

Harness Leather, Use of in Hammering on a Painted Surface — 147 
Indicating by Colors the Difference in the Materials of Vehicles.. 158 

Ivory Black, How to Thin - 26 

Last Coat on a Carriage 131, 132 

Laying out Letters 96 to 103 

Lead Color, How to Make 21 

Lead Color, Method of Priming 28 

Lead in Revarnishing Carriages 152 

Lettering, Colors used for 108 

Lettering for Wagons 70 to 110 inclusive 

Lettering, Pencils for 107,108 

Lettering, Tools used in 107, 108 

Letters, Abbot, Downing Co.'s Styles of 79 

Letters, Balancing Properly , 103 

Letters, Boston Roman 89 to 95 

Letters, Full Block 71, 72, 73 

Letters, Full Block Octagon 72 

Letters, Full Block Round 73 

Letters, Gothic Half Block 98, 99, 100 

Letters, Half Block 71 to 76 

Letters, Half Block, How to Design 96, 97 

Letters, Half Block Octagon 73, 74 

Letters, Half Block Round 73, 74 

Letters, Italic 77 

Letters, Modern Old Style - 80 

Letters, New York Roman 81 to 89 

Letters, New York Roman Italic 86 to 89 

Letters, New York Roman Italic, Lower Case 88, 89 

Letters, Ornamental -. 78 

Letters, Outline 76 

Letters, Printers' Black or German Text , 77 

Letters, Roman 80 to 95 

Letters (Shaded), Various Styles of 108, 109, 110 

Letters, Solid Block 77 

Letters, Square Block . 77 

Letters, Tuscan Full Block 78 

Lightening up a Job 63 

Lines in Striping for Carriages 56, 57, c8 

Materials, Care of 45 

Monograms, English Style 167 

Monogram, Florentine Style 167 

Monogram, Louis XV. Style 170 



INDEX, 175 

Page. 

Monogram, Modern Style 170 

Monograms 165 to 170 

Nickel Leaf 67 

Oil, the Use of 20 

Old Paint, the Uses of 148 

Paint Brushes, Round 13 

Paint, Cracking of 48 

Paint, Crawling of 46, 47 

Paint, Drying Qualities of , How to Test 19, 20 

Paint for New Wheels (Carriage) „ . . „ » 127 

Paint for Repair Work, How to Mix 146 

Paint for Second Coat on New Carriage Wheels 128, 129 

Paint, Peeling off, How to Prevent 133 

Painting a Body for a Cheap Job 149,150,151 

Painting a Business Wagon Body 34, 35 

Painting a Carriage Body 134, 135 

Painting a Cheap Job 148 to 151 

Painting a Spoke in Repair Work 146 

Painting a White Job 69 

Painting an Express Wagon 148 to 151 

Painting Canvas Top Sides 48 

Palettes, Zinc 53, 54 

Panel Stripe for Spring Bars 58, 60 

Painting Lumber Wagons 142, 143, 144 

Painting Wooden Parts the Same as Iron, in American Carriages . . 157 

Paints used for Lumber Wagons 142, 143 

Pencils, Care of 54, 55 

Pencils for Ornamental Striping 55 

Pencils, Ox Hair 53 

Pencils, Striping 52, 53 

Pigments for Colors, Combination of 21 to 24 

Pounce Bag, A 62 

Priming 28, 29 

Priming for a Cheap Job 148, 149 

Priming Lumber- Wagon Boxes 143 

Pumice- Stone Dust, How to Remove from Work 139 

Pumice-Stone in Rubbing out 32 

Putty ,.26, 27 

Putty.Block 27 

Putty, Block Bedding 27 

Putty (Black) for Irons 27 

Putty for Carriage Gears and Wheels 130, 131 

Putty for Gears, How to Make 34 

Putty Knife Method in Painting Business Wagons, The 38 



176 INDEX. 

Page. 

Putty, Quick 26 

Putty,White 26 

Puttying for a Cheap Job 149 

Puttying Joints 139, 140 

Repair Work, Touching up 145 

Revarnishing a Carriage 152, 153, 154 

Rough Stuff for Business Wagons 39, 40 

Bough Stuff, Mixing 30, 31 

Rough Stuff , Rubbing Out 32, 33 

Rough Stuff, White 69 

Rough Stuffing Panels 30, 31 

Rubbing a Carriage 135, 136 

Rubbing Down a Carriage for Revarnishing 152 

Rubbing Out Rough Stuff 32, 33 

Rubbing Process, The 37 

Rubbing Stone, English 33 

Rubbing Varnish 41, 42, 43 

Rubbing Varnish, How to Apply 41, 42 

Sand Papering a Carriage 131 

Sash Tool, The 14 

Schumachersche Fabrik 33 

Scrolls (Flat) Designs for 118, 119, 120 

Scrolling, Free Hand Ill 

Scrolling (Gold), Shading in 116 

Scrolling, Harmony in 116, 11*7 

Scrolling- in Gold 115, 116 

Scrolling, Leafing in 11 2 to 120 

Scrolling, The First Lesson in Ill, 112 

Scrolling, The Line of Beauty Ill, 112 

Scrolling, Wagon Ill to 120 

Scrolls, Flat 117 to 120 

Shading 104 to 1 1 

Shading Black Letters 106 

Shading Gold Letters 105, 106 

Shading Octagon Half Block Letters with a Double Shade Blocked. 105 
Shading Octagon Half Block Letters with a Single Shade Blocked . . 104 

Shading, Position of Lines in 107 

Shading Red Letters 106 

Shop (The), And How it Should be Constructed 11, 12 

Silver Bronze 67 

Silver Leaf 67 

Stencil, How to Make 121, 122 

Stenciling 121.122,123 

Stenciling. Brushes for 123 



INDEX. 177 

Stenciling, MiinEg^aiprs for 123 

Stencals, De^fesJp^i 121,122 

Stripe f " :A Wgm[Et ° f Shafts and Part of tne ^ross-Bar 61 

..Stripe ftf™M BpSpring , 53, 60 

Stripes f^ggHRn Gears 5S to G2 

^triplii^^pl". . 51,52, 53 

Stripin^p)#^htening out 66 

Striping Tools 51 to 55 

f^Sfcriping used on Business Wagon Gears 56 

"•Striping Wagons 50 to 67 

Touching up Repair Work ]45, 146, 147 

Transfer Ornaments 162, 163 

Varnish, Blistering of 47 

Varnish Brushes, How to Clean 44 

Varnish Brushes, How to Keep in Good Condition 44 

Varnish, Cracking of 48 

Varnish, Crawling of 46, 47 

Varnish, How to Mix for Carriages 133 

Varnish Room, to Warm : 41 

Varnish, Specky 46 

Varnish, Sweating of 43, 44 

Varnish, The Finishing Coat of, for Carriages 134, 135 

Varnish, To Lay On 42, 43 

Varnishing 40 to 48 

Varnishing a Carriage 133 to 136 

Varnishing a Furniture Van 40, 41 

Varnishing a Lumber Wagon , 144 

Varnishing a Sleigh 41, 42, 43 

Varnishing a Wagon 41, 42, 43 

Varnishing, Brushes for 133 

Varnishing, Failures in 45, 46 

Ventilator for Varnish Rooms 11, 12 

Vermilion, Grinding , 25 

Vermilion, Light English 25 

Vehicles, Angular Forms in 155, 155. 

Vehicles, Irregular Forms in 155, 156 

Vehicles which Displease the Eye 156 

Wagon, Business, To Paint 28 to 40 

Wagons (Lumber), To Paint 142, 143, 144 

Wagon Painting, Colors Required in 17, is 

Wagon Scrolling ' Ill to 120 

Wood Filler for Priming, Wheeler's. 39 

Wood Filling on Business Wagons 39, 40 



178 THE COMPLETE CARRIAGE AND WAGON PAINTER. 

"OUT OF A TOTAL OF SIXTY-TWO CARRIAGES EXHIBITED 

AT THE BORDEAUX EXPOSITION IN BORDEAUX, 

FRANCE, THIRTY-TWO WERE FINISHED WITH 

"VALENTINE'S TARNISHES." 




SIXTY OF THE ONE HUNDRED AND THIRTEEN 
RIAGES ON EXHIBIT A T THE AMSTERDAM 
EXPOSITION, ARE FINISHED WITH 

"VALENTINE'S VARNISHES." 



CAR- 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 179 



WHEELER'S 

PATENT WOOD FILLER. 

<M i hi iiiriiTTMniii ™ i ■■■ T winm- B^a^BnH^naai llim fM w i t «■■■— — 1 

The only article to give a durable, economical, natural, and perfect 
finish to hard wood. 

AWARDED A SILVER MEDAL 



NATIONAL EXPOSITION OF RAILWAY APPLIANCES 
AT CHICAGO, &1AY, 1883. 



BREINIG'S 
LITHOOEISr PRIMER. 



A superior priminjr for carriage wood-work For a filling on running 
gear it surpasses white lead, and in sand-papering it is not poisonous. 



BREINIG'S 
STANDARD WHITE JAPAN. 

A gold size and a safe drier and extender of carriage varnishes. 



THE BRIDGEPORT WOOD FINISHING CO., 

40 BLEECKER STREET, HEW YORK, 

GRANVILLE M BREINIG, Agent. 

p$g°° Send for pamphlet, circulars, etc. 



180 THE COMPLETE CARRIAGE AND WAGON PAINTER. 



SEND FOR OUR NINETY-SIX PAGE ILLUS- 
TRATED PRICE-LIST OF BRUSHES. 




MIL.KS BROTHERS & CO., 

103 FULTON STREET, NEW YORK. 



THE COMPLETE CARRIAGE AND WAGON PAINTER. 181 



PROSPECTUS 

OF THE 

BLACKSMITH ANE WHEELWRIGHT 



FOR 



1SS4 



We have iu preparation a great many good things which we propose 
to lay before our readers during the year 1884. Those who have read 
the paper with pleasure and profit in the past, will find it becoming 
more valuable year by year. We propose to spare no pains or ex- 
pense to make The Blacksmith and Wheelwright indispensable to 
every BLACKSMITH, WHEELWRIGHT, CARRIAGE OR 
WAGON BUILDER in the country. 

As opportunity offers, from time to time, we shall discuss Forging in 
all its branches, Tempering, Hardening, Welding, Horseshoeing, 
Wagon and Carriage Building, Carriage Paintiog, etc. 

The illustration and description of New Tools and Machines will 
be a special feature of interest to all who desire to keep abreast of the 
times in a knowledge of labor-saving devices. 

TERMS OF SUBSCRIPTION. 

One copy, one year post-paid $1.00 

One copy, six months ... .50 

Single number 10 

Foreign subscriptions 1.25 

ONE DOLLAR inclosed in a letter and mailed to us will entitle you, 
on its receipt, to the Blacksmith and Wheelwright FOR ONE YEAR. 

A fraction over EIGHT CENTS A MONTH. 

A trifle under TWO CENTS A WEEK. 

It is not necessary to register your letter or procure a post-office order ; 
but this course is recommended as being absolutely safe. When not 
convenient to do either, send one of the new postal notes, or inclose 
the money in a letter carefully sealed, addressed and stamped. 

Those who prefer, can procure the Blacksmith and Wheelwright 
from their nearest newsdealer. If he does not keep it, he will order 
it for you at your request. Address all orders to 

M. T. RICHARDSON, Publisher, 

47 BARCLAY STREET, NEW YORK. 



